MARGINS, DARKNESS AND BACKLIT TACTICS:

INSURGENCY MOVEMENTS IN VOLTEI! AND ERA UMA VEZ BRASÍLIA

Abstract

This article aims to investigate insurgencies in contemporary Brazilian cinema
from the perspective of two films: Era Uma Vez Brasília (Adirley Queirós) and Voltei!
(Glenda Nicácio and Ary Rosa). The objective – by relating these works and their production
model – is to understand a perspective of the production of the vanquished (BENJAMIN,
1994), the identification of the probable dimension of the vanquished night and the backlit
zones of the margins as epistemological spaces of fabulation and resistance. Zones in which
they are more noticeable, such as the flashing lights of fireflies, like the design power of DidiHuberman from Pasolini, infamous for the use of the spotlight of the glow of brightness. The
objective is to understand how such perspective is constructed by film, making these minority
groups participants in the aesthetic-political fabric of society from the cinematographic
fables they perform about themselves. As a result, it's possible to notice the transition from a
cinema of representation to a perspective of creation and political sharing, offering
collectives practices as fundamental management to an insurgent turnaround.