Três encenações da vida comum no cinema brasileiro contemporâneo

Abstract

In this research we have investigated the forms of appearance of the singularity of the subjects filmed in three recent Brazilian cinema productions: Avenida Brasília Formosa (Gabriel Mascaro, 2010), O Céu sobre os Ombros (Sérgio Borges, 2010) and Transeunte (Eryk Rocha, 2010). When they elect unpreiviledged scenec of the city (such as slums, projects and the outskirts of town) and take everyday life as a viewpoint, these movies reveal habits, gestures, affections and means of sharing of the subjects in the scene, encrypting their life potencies. With this outlook the films have painted life without qualities in a strong aestethic interest, and have become important locations for investigating ways of inscribing distinctness in the current Brazilian cinema. The goal that has guided us was to understand how each movie employed stylistic procedures to depict the portrayed world which they approached, articulating temporality, space and characters. We have analyzed the three mise-en-scènes and inquired on the components of the writing of the movies which, upon coming close to the real and hystoric world, have changed it into sensible, visible matter, offered to the spectator. The link created differently by the three narratives between the bodies, the lines and the places – inscribed into a duration – has put us before different actings of common life.