Áridos Movies

Abstract

The Sertao Nordestino has always been in Brazilian people imagination through the history discourses that has been produced. Several fields of discourses, like politics, economy, social sciences and arts, created a symbolic universe about this space. Therefore, the Movies also contributed in this symbolization, mainly in the Nordestern and Cinema Novo cycles. In the 2000s, there are new currents of cinematographic representation. One of them is the group of Nordeste that wants to talk about their Sertoes and gives them new meanings according to a contemporary globalized world. This present article searches, through the analytical methodology of Pierre Sorlin, to show how this happens in a group of four films: Cinema, Aspirinas e Urubus (Marcelo Gomes, 2005), Arido Movie (Lirio Ferreira, 2006), Ceu de Suely (Karim Ainouz, 2006) e Deserto Feliz (Paulo Caldas, 2007).