in this article we propose to problematize how contemporary Chilean fictional cinema and audiovisuals have represented the coup d'etat in light of the concept of event. Following Alain Badiou's theory of historical discontinuities, this is understood as the existential gravity of the unrepresentable. If the coup d'etat in Chile (1973) operates as that singularity that destroys the structural foundations, transforms the senses of past and future, and fractures the historical evolution. The questions that surround the text are the following: is it possible to represent what is denied to representation? How can a limited organization of images contain such a density? And then, what has been produced in this attempt? It is in the midst of this questioning that the audiovisual representations of the coup are investigated, as an essay in the midst of impossibility, we build the category of Basic Representation Scheme (EBR). This concept -which refers to a moldable structure of audiovisual elements- enables the review and discursive aesthetic analysis of a corpus of Chilean films and television series that deal with such an event. The notion of EBR allows us to approach from the most basic formal structures to the most complex concepts that organize each staging of the coup. From here, we determine two predominant aesthetic problems in these productions: emptiness and accumulation.