José Rodrigues Miguéis (1901-1980) shares some aspects of the neo-realistic’s ideology, which he envolves with elements preconised by presença. However, he keeps his literary independence and originality. Having spent most of his life in America, where he died, he always showed a deep interest in other arts, like the cinema. In this article we will discuss how the “seven art” is inscribed in the work of José Rodrigues Miguèis, particularly in the short story “Beleza Orgulhosa” (presents in the book Onde a noite se Acaba) and in some chronicles of the Espelho Poliédrico (1973). Thus, we analyze the importance and the construction of cinematographic descriptions, configured with images and metaphors, as well as the establishment of diegetic and semantic relationships that enable the capture of several actions, similar to film sequences. In short, we will try to understand how the visual elements, present in the words of this writer, show his deep humanism and, at the same time, are a vehicle to the image of the “other”, through the placement of a process of alterity.