Memória, resistência e fabulação: uma análise da Ceilândia de Adirley Queirós.

Abstract

The present work intends to analyze the work of the filmmaker Adirley Queirós, with special emphasis to Branco Sai, Preto Fica (White Out, Black In; 2014). His films, realized in Ceilândia – the first and biggest satellite-city on Brasília’s surroundings – put the experiences of some local groups in the foreground. We used as resources the Farkas Caravan – set of Brazilian documentaries of the 60’s – and the recent phenomenon of “hunger cosmetics”, according to Ivana Bentes (2007), intending to comprehend by differentiation the specificity of the view propitiated by Queirós’s work about the popular and peripheric groups in Brazilian cinema. Ceilândia, presented as a “black and marginalized population” – paraphrasing the character played by Gleide Firmino in White Out, Black In –, is narratively constituted in a relation of differentiation to a norm, Brasília. Our objective is, through a postcolonial sociological and intersectional perspective, to comprehend how the differences are articulated in this cinema, considering the dimensions of race, class, locality, amongst other markers highlighted by the narratives. In White Out, Black In, the documental starting point is a police violence complaint in a black music party in Ceilândia in the 80’s. The accusers, handicapped due to the abuse of power by the police in that occasion, have their experiences also attached to the social and racial segregation that mark the history of the satellite-city. Erasing the borders between “fictional” and “documental” regims and overcoming a subaltern existential circumstance (GRAMSCI, 1977; GÓES, 2016) in which the subjects could be framed, roles are played in a sci-fi universe in wich the city of Brasília is blown up trough a bomb that contains sounds, music and voices from the city’s periphery. The inscription in the end of the long-length movie – “let us fable our own memory” – emphasizes the forms of subjectivation and agency of the represented subjects, inviting us, on our analysis, to notice how the intersections among differences and inequalities are articulated and experienced.