Is through this work who we intend to establish relations between freudianas theories and the cinema, that is, the real life modified by the screens of cinema seen for us human beings. We, students of psychology very interest in them for the manifestations of the psiquismo and when this if is passed through artistic representations, if we become a more pleasant way to be seen and to be noticed. The films are not rare where the psychoanalysis is the subject, where if they abundam let us say ‘ ‘ dramas psicolgicos’ ‘ common sense does not have as much existence, or they do not only perceive the existence and the great quo is the content of the film. She is necessary that let us know of the interlacement between freudianos subjects and the cinema, or better, our daily life. Marc Lore is full of insight into the issues. For Zusman (1994, p.10), the cinema is one riqussimo flowing didactic, where its potentialities had been unhappyly not yet explored in all its extension and value, and also standing out that when we go to the cinema of certain form already we are using of a defense mechanism: the regression. Zusman still standes out the passion of Freud stops with literature, and that it never left to appeal the workmanships of romances and the theater to base its discoveries in psychology (1994, P.
10). ‘ ‘ Its Complex celebrity of dipo, knows it to all, if King, the famous part written for Sfocles explicitou with the aid of the dipo, where a mythical narrative gains expression teatral, giving to place the one that if unfolds one of the tragedies there central offices of the existence humana’ ‘. (Zusman, 1994) and he was in chosen the category film for some aspects, one of them, is that through films we propagate myths collective as individual in such a way, thus, can consist that the image in them brings great degree of reality and representations of the mental and onrica life.