The literary composition of Graciliano Branches published in 1938 is reconfigured by Nelson Pear tree in 1963, and serves of an excellent example in perceiving as the look on the Northeast and its landscape a values accumulation of and custom, conception politics and place of citizen are processed for, intersubjetivados in the referring productions to the Northeast since the end of century XIX, as we saw in the book ‘ ‘ Northeast invention ‘ ‘ of Durval de Muniz, that is a historian brought up to date with the historiogrficas proposals of its time, that starts to think the region in such a way how much the landscape idea as social places of conflict and disputes. The space does not preexist to a society incarnates that it. It is through the practical ones that these clippings remain or move of identity, that gives place to the difference; it is in them that the totalities if fracionam, that the parts always do not reveal since engaged with all, being estetodo an invention from these fragmentos, in which heterogeneous and the discontinous one appears as homogeneous and continuous, where the space is a picture defined for some flicks. (MUNIZ, 1999. P. 25) How much to the third and last point being problematizado, the cinematographic production and its relation with the regional identity, we can come back the original citation, where the symbolic power starts to desconstruir speeches of before unquestioned places. Literature, music as we saw in seminary carried through in the room, myth twine, photo, constructions politicians, religious, artistic and etc are part of the teia of meanings that componhe in such a way the regionalistic speech how much the reinforcement of slight knowledge of referring identities to the Northeast, the proper cinematographic production as we perceive in ‘ ‘ Secas’ lives; ‘ , it is part of this teia of meanings that sends the region as space that loads in itself, an indivisible radical of essence.