Descrição
This article focuses on the analysis of the political effects of the configuration of the character Madame Satã, in Madame Satã (2002), by Karim Aïnouz. It is noteworthy, in this case, an intimacy born of proximity built in space and diegetic time that, at the same time, lets you explore places and virtually timeless and undefined situations: skin, pores, cracks and mold on the walls, sweat, glitter, clothes, objects of everyday scene. Thus, the body takes the place of a political speech that replaces the representation by introducing new forms of resistance in contemporary Brazilian cinema.KEYWORDS: Subjectivity. Afects. Homossexuality. Body. Cinema.||Este artigo se debruça sobre a análise dos efeitos políticos da configuração do personagem Madame Satã, no filme "Madame Satã" (2002), de Karim Aïnouz. Destaca-se, no caso, uma intimidade que nasce de uma proximidade construída no espaço e no tempo diegéticos e que ao mesmo tempo permite explorar lugares e situações praticamente atemporais e indefinidos: pele, poros, mofo e rachaduras nas paredes, suor, purpurina, tecidos, objetos de cena cotidianos. Desta forma, o corpo de Satã assume o lugar de uma fala política que substitui a representação, instaurando novos formatos de resistência no cinema brasileiro contemporâneo.PALAVRAS-CHAVE: Subjetividade. Afetos. Homossexualidade. Corpo. Cinema.ABSTRACTThis article focuses on the analysis of the political effects of the configuration of the character Madame Satã, in Madame Satã (2002), by Karim Aïnouz. It is noteworthy, in this case, an intimacy born of proximity built in space and diegetic time that, at the same time, lets you explore places and virtually timeless and undefined situations: skin, pores, cracks and mold on the walls, sweat, glitter, clothes, objects of everyday scene. Thus, the body takes the place of a political speech that replaces the representation by introducing new forms of resistance in contemporary Brazilian cinema.KEYWORDS: Subjectivity. Afects. Homossexuality. Body. Cinema.
