Inferninho: um refúgio queer

Abstract

The violence against LBGT people appears in the news year after year, at the same time that artistic and political figures, such as Pabllo Vittar and Erika Hilton, for example, gain more national and international visibility. It’s perceived the complex position of the LGBTQIAPN+ community in contemporary Brazilian society and it is necessary to carry out studies about this relation. That way, this paper aims to analyze the Ceará film Inferninho (Guto Parente, Pedro Diógenes, 2018), from three aspects: the studies of sex and gender normativities constitution framed with social powers disparities, the use of the camp sensibility and the artifice aesthetic as a filmic device which can enable glimpses of other ways of life, and the queerness that it is in the collaborative logistics of production carried out from the encounter of the art collectives Alumbramento and Grupo Bagaceira de Teatro. Beyond the bibliographic revision of the themes from the authors Elsa Dorlin, Judith Butler, Paul Preciado, Denilson Lopes and Susan Sontag, associated to the Ricardo Duarte, Dieison Marconi Pereira, Pietra Garcia, André Macedo e Suelen Grimes researches, an interview made with the directors Guto Parente and Pedro Diógenes and with the actor Yuri Yamamoto complement the methodology of the research. This work presents how Inferninho reveals an ambiguous place where queer people seem stuck – just like in their oppressive reality – but also sheltered from such an intolerant world. Camp sensibility and artifice provoke erasures on the reality of the characters and centralise their marginalized ways of life, as well as in the films Madame Satã (Karim Ainouz, 2002) and Doce Amianto (Guto Parente, Uirá dos Reis, 2013), analysed in Ricardo Duarte’s research and reviewed for this paper about the Ceará film.