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The 1960s were the scene of the most transcendent documentary cinema that has been produced in Cuba. In a cinematography led by men, the name of an only woman director stands out, Sara Gómez, whose sensitivity allowed her to represent, from a singular use of lmic language, the social otherness of her time. is paper intends to understand the dramaturgical strategies used by this author to approach the subaltern subject in Cuba aer the triumph of 1959. Focused on the study of the documentaries Guanabacoa, chronicle of my family (1966) and On the other island (1968), the analysis uses the review of theoretical proposals on otherness in and dramaturgy of the documentary. [ABSTRACT FROM AUTHOR]