The topicality of the war in Ukraine reinforces and makes necessary the discourse on the power of images and forces us to ask ourselves the question of the operative force – in the constitution of a historical present – of the media, artistic and cinematographic images produced at the time. even and at the heart of the democratic movements of the end of the 20th and the beginning of the 21st century. This discourse thus opens up to three essential issues. It is a question, first of all, of proposing a theoretical reflection on possible natures - a typology - of the formal expressions and the conceptual stakes of cinematographic works and images more generally produced in the present of History in order to confront them, secondly, to the conceptual commitments of political philosophies, the space of critical resistance being that of the reconfiguration of the very concept of "politics" and of the re-hierarchization of the power of discourses (Jacques Rancière,Sharing the sensitive, 2000;Modern times, 2018). What is the “force of repoliticization” (Jacques Derrida,thinking about not seeing, 2013), what is the questioning of the “distribution of roles, territories and languages”, “of speech and noise” (Jacques Rancière,Sharing the sensitive, 2000) that characterize the images of wars, both from a discursive and a formal point of view? Finally and lastly, this reflection opens up to the ontological question of the very definition of the concept of History and of its writing where the "beginning" and the "commandment", according to Derrida's formula, emerge simultaneously. .