FQ contributing editor Bruno Guaraná reviews the significance of the Brazilian director Karim Aïnouz’s groundbreaking Madame Satã on the occasion of the film’s 20th anniversary. Guaraná argues that Madame Satã was a film ahead of its time. While in dialogue with queer theory and queer cinema contemporaneous to it—placing it squarely within a global queer film canon—it also anticipated now-current notions of transgressive representations of nonbinary identities in Brazilian cinema. To think about Madame Satã in its original context thus means also recognizing the quantitative and qualitative leaps in media representation of queerness and blackness since its release.
Twenty Queers of Madame Satã
Bruno Guaraná is Master Lecturer of Film Studies in the Department of Film & Television at Boston University. Originally from Recife, Brazil, he received his PhD in Cinema Studies from New York University and his MA in Film from Columbia University. His current research explores negotiations of cultural citizenship in contemporary Brazilian media. He currently serves as the Page Views Editor for Film Quarterly.
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Bruno Guaraná; Twenty Queers of Madame Satã. Film Quarterly 1 September 2022; 76 (1): 45–53. doi: https://doi.org/10.1525/fq.2022.76.1.45
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