This sedenta search for social justice takes the synopsis of the film ' ' Secas' lives; ' , to represent the Brazilian Northeast in the delivery of ' ' Oscar' ' of better film in the year of 1963, the festival of canes as, (in pauprrimo Northeast Brazilian). Inside of this conjuncture, we can say that ' ' Secas' lives; ' it brings the social and ideological marks of the context of its Director, taken for the influence of the marxist theory, where concepts as oppressing, oppressed, ideology, dialectic, system, exploration, and etc permeiam established the social and cultural codes around the flmica production of 1963. But, the films, thus with the letters, the books, the commercial ones of television, are made for somebody. They aim at and imagine definitive public. However, the directors of cinema, the scriptwriters, the producers and the proprietors of cinema rooms are, frequently, distanciados of the spectators ' ' reais' ' or ' ' concretos' '. The distances can be economic, secular, social, geographic, ideological, of sort, race. (ELLSWORTH, 2001, P.
13) Taking this comment of Elizabeth Ellsworth and the present question in its text, ' ' Way of addressing: a cinema thing; an education thing tambm' ' , ' ' who this film thinks that you are? ' '. We will have. This film thinks that I am northeastern, explored for the State, condemned for the castigante sun who dries up the ground, exactly kills the cattle and the people of hunger and headquarters, that I am mentally ill, but thus, a male goat or strong woman that resists all to these difficulties. As we saw in the citation above of the text ' ' Way of Endereamento' ' , the director can miss its target of addressing for some reasons, but this will be retaken more ahead, now will problematizaremos as the point detached in the introduction.