How does one weave the thread of everyday occurrences in a story where history has ravaged and devastated (these memories)? What do we make of a painful and ruined past that is yet a subject of current importance, given that none of its wounds are healed? Such is the type of question that inspires the film Everyday Stories, by Andres Habbegger. It searches for answers among the children of victims of state terrorism in Argentina. The work reflects on the statute of memory and justice in the figure of the Disappeared, as a subject which is obliterated nearly all the way to the tomb. The Disappeared has the social status of a specter: he is a restless corpse that persists in the present day because he has no grave, because there is an unsolved crime whose perpetrators remain silent and at liberty.