In Veredas (1977), by João César Monteiro, several texts coexist: the “História de Branca-Flor”, the excerpt of the play Euménides, by Ésquilo, and texts by Maria Velho da Costa. This film, which has a certain propensity for documentary recording, due its work of assembling images, text and sounds, appears as a multifaceted and polyphonic object. We defend that these characteristics are reinforced with the introduction of Maria Velho da Costa’s texts. It is therefore our purpose to analyze the eight excerpts which are found in the film and to study their role and effects within the work of João César Monteiro.