In this research, we investigate the ways in which the uniqueness of the subjects filmed in three recent Brazilian cinema productions appears: Avenida Brasília Formosa (Gabriel Mascaro, 2010), O Céu sobre os Ombros (Sérgio Borges, 2010), and Transeunte (Eryk Rocha, 2010). By choosing underprivileged settings in the city (such as the suburbs, the favelas, and the outskirts), and taking everyday life as their point of view, the films reveal the habits, gestures, affections, and ways of sharing of the subjects in the scene, encrypting their life forces. With this aim, the films coated life without qualities of strong aesthetic interest, becoming important places of investigation into the ways of inscribing otherness in recent Brazilian cinema. Understanding how each film employed stylistic procedures to represent the lived world it approached, articulating temporality, space, and characters, was the goal that guided us. We analyzed the three mise-en-scènes, inquiring about the components of the films' writing that, by approaching the real and historical world, transform it into sensitive and visible material.