This film essay stablishes a dialogue between Mondo Cane, footage from the Vietnam War and the postcards and travel photographs of my grandfather. Taking as a starting point my grandfather´s obsession with his gun, I decided to explore the relationship between vernacular memory and official history. My take was to use Mondo Cane´s footage (representative of the exotism and cultural colonialism of Film industry) as a mere footnote to the personal story of my grandfather. Thus, instead of letting Mondo Cane operate as a grand cultural narrative of exploitation, I inverted the roles and re-signified the images to work as mere postcards embedded in a personal narrative. To take the gesture a little bit further, I used footage of the Vietnam war, which was simultaneous to Mondo Cane and exploitation cinema´s prime time. This gesture was a way of inverting the hierarchies in the construction of history: Instead of letting the grand narratives define the individual´s memory, the idea was to let the individual´s biography be the builder of the so-called History. In this way, this exercise was a reflection on how vernacular memory appropriates History and transforms its meaning and relations: People build history but History is not bigger than them, it is only a matter of narrative construction.