Encruzilhadas, andarilhos, aprendizes: sobre três filmes-performance

Abstract

Starting from the hypothesis of Pignarre and Stengers about capitalist sorcery, this article considers three performance-films – Ungüento by Dalton Paula, Árvore do esquecimento by Paulo Nazareth, and Noirblue by Ana Pi – to understand them as counter-colonial critiques, elaborations of the history of the African Diaspora by using the body. If capitalism – and colonization, which cannot be separated from it – constitutes a “sorcery system without sorcerers”, the three works can be seen as counter-spells, interventions within time and with time.