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In this text, I resume aspects from the case study I performed with the Cinema de Guerrilha da Baixada on the turning of 2015 to 2016, as part of an effort to map audio-visual production in the Baixada Fluminense. Starting from the notion that "guerrilla cinema" means not only making movies with limited resources ("with what is on hand"), but also, and foremost, the creation of a repertoire of tactics that can be used to multiply the potential of those resources, I put on evidence some of the dynamics that configure the "guerrilla" inherent to the studied group. Beyond the modest, or sometimes inexistent, budget that characterizes these productions, making movies with "what is on hand" means fabricating alternatives from a context of nonspecialization and absence of time besides the daily working hours with which a living is made (or lost). [ABSTRACT FROM AUTHOR] more...