Filmic counternarratives by the Guarani Mbya
decolonizing acts of institutional disobedience in indigenous cinema
This study analyzes the documentary production of the Guarani Mbya Cinema Collective. By linking film studies with post-colonial criticism, our aim is to understand how indigenous filmmakers, insofar as they appropriate audiovisual registers about themselves, problematize the official versions and stereotypes about their history. From a decolonialist theoretical framework, we identify an imagery regime that configures acts of film and historical disobedience, besides unveiling the colonial character of the power, knowledge and essence surrounding the Guarani people. We also identified metalinguistic processes that mix filmic and historical spaces, create an intricate network between the films and force this cinema to move beyond its borders.