This work analyzes the relationship between personal and historical memory in five Argentine films made after the end of the country's last dictatorship. All are directed by, and feature, women. Besides approaching the topic of memory, this work examines how patriarchy influences narratives of both personal histories and, more broadly, of history in: Camila (María Luisa Bemberg, 1984), Un muro de silencio (Lita Stantic, 1993), Los rubios (Albertina Carri, 2003) and La mujer sin cabeza (Lucrecia Martel, 2008). Trauma and the handing down of memory—issues that appear in all of the chosen films—are approached from a critical feminist perspective. At the middle point between oblivion and remembrance, fiction allows chaotic memories of dictatorship to be organized into a coherent story. Though intensely private and personal, these worlds that are at the same time part of a shared history and belong to all Argentines, in a society-wide push to mend identities disfigured by state terrorism. At the same time, in defiance of the previous generation, these women leverage their ostensibly personal films to challenge family, social, and cultural structures.