Golpes de Playa del Futuro

José Gatti

doi:10.55442/tomauno.n6.2018.20907

Authors

José Gatti Universidade Federal de Santa Catarina

DOI:

https://doi.org/10.55442/tomauno.n6.2018.20907

Keywords:

Queer cinema, Genre, Homoerotics, Masculinity, Politics of representation

Abstract

This essay analyzes Futuro Beach (2014) as a queer work, one that challenges traditional formats of melodrama. Director Karim Aïnouz defined his film as a macho melodrama; however, I argue that Futuro Beach disrupts melodrama, its devices and ingredients. The film’s narrative is marked by punches, blunt cuts, few dialogues and gaps that prevent closures.

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Author Biography

José Gatti, Universidade Federal de Santa Catarina

Es profesor, investigador y autor de ensayos y libros sobre políticas de representación en los medios audiovisuales. Hizo la maestría en la Universidade de São Paulo y el doctorado en la New York University. Ha enseñado en la Universidade de São Paulo, Universidade Federal de Santa Catarina, Universidade Federal de São Carlos, Universidade Tuiuti do Paraná en Brasil, en la Boston University, en Estados Unidos, y en la University of Cape Town, en África del Sur. Fundador de SOCINE (Sociedade Brasileira de Estudos de Cinema e Audiovisual).

References

Books, P. (1976). The Melodramatic Imagination: Balzac, Henry James, Melodrama, and the Mode of Excess. New Haven: Yale University Press.

Xavier, I. (2006). O olhar e a cena. São Paulo: Cosac & Naify.

Aïnouz, K. (Dir.) (2014). Praia do Futuro [Largometraje]. Coproducción BrasilAlemania: Hank Levine Film / Detailfilm Gasmia&Kamm Gbr / Coração da Selva