Cantos da Ceilândia: produção de subjetividade em filmes de Adirley Queirós

Abstract

This work investigates the relationship between the concept of "minor cinema" and the feature films by Ceilândia director Adirley Queirós, specifically "A cidade é uma só?" (2011), "Branco sai, preto fica" (2014), "Era uma vez Brasília" (2017) e "Mato seco em chamas" (2022). The main objective is to understand how these films fit into and dialogue with the notion of "minor cinema", exploring their cultural and social implications. The question that guides this research is: in what way do Adirley Queirós' films exemplify and expand the concept of "minor cinema" in the context of contemporary Brazilian cinema? To answer this question, the research adopts an multidisciplinary approach, combining philosophy and cinema. The theoretical basis includes a bibliographic review that covers the cartographic perspective of Gilles Deleuze and Félix Guattari, expanded by Suely Rolnik, incorporating elements of philosophy and art from Brazil. Concepts such as "minor cinema" and "desiring cinema machines", proposed by Félix Guattari, are revisited and problematized in the context of Queirós' works. In addition, the work offers a historical retrospective of Brazilian cinema after 2010, in dialogue with the approach of the "ethnography of fiction", created by Adirley Queirós. The methodological process employed is "film cartography", which analyzes films as productions of subjectivity, mapping their interactions between cinematic editing, flows, cuts and agencies. This analysis seeks to reveal how Queirós' films function as "corners of Ceilândia", reflecting and reconfiguring the social and cultural reality of the region.