This article explores a series of contemporary audiovisual practices that review a visual legacy of 68 Mexican on the basis of a recent curatorial proposal for the re-use of film materials of the time, hence 68... (Ambulant Festival, 2018). This review is based on the intersection of three different genealoguies of work on the philmic: on the one hand, that of militant cinemas in the 1960s and 1970s and their willingness to take political action, either on the basis of their review or from a more or less explicit self-assumed affiliation. Secondly, the tradition of experimental cinema, mainly that involving practices defined on the basis of two interconnected work axes: (re) ownership and reuse of filmic materials, and artisanal work with obsolete means, such as 8 mm, ulper-8 and 16 mm. Finally, the line of work which, at least since the beginning of this century, uses ‘archiving practices’ as spaces for the construction of historical stories, which are generally proposed as contra-archives challenging hegemonic narratives and are attempts to construct a collective – or post-memorial – memory.