A presença da colonialidade no cinema feminista latino-americano

Abstract

This article investigates how coloniality is present in some narratives developed by Latin American feminist cinema produced between the 1960s and 1970s through the analysis of three films: Araya, by Margot Benacerraf (Venezuela, 1959), De cierta manera, by Sara Gómez (Cuba, 1974) and A propósito de la mujer, by Kitico Moreno (Costa Rica, 1975). In dialogue with feminist theorists and Latin American decolonial perspective, our goal is to perceive how films, understood as acts of resistance, reflect on colonialism (from past and present), in particular through the thought of María Lugones (2008; 2019).