This project carries out an analysis of Glauber Rochas Cancer that aims to establish the political and cultural implication of the films temporal distention between the four days of shooting, in August 1968, and the four years over which it was edited and synchronized, until its completion in May 1972 and the way in which the film embeds this distention in its formal structure. We argue that the films formal incorporation of the period of its production, through the two documental segments inserted during the last two stages of production, effectively performs a political and cultural intervention on the events of the year it was shot. In the defense of experimentation in Art, in the context of the cultural and political avant-gardes of 1968, Glauber Rocha attempts, in postproduction, to present his experience, in the form of Cancer, as the experience of an epoch.