Film culture and queer identities in contemporary Brazil

Abstract

This article seeks to reflect upon the interaction between film culture and both the LGBTQIA+ communities and society at large in the twenty-first century, an interaction (and film production) that has increased exponentially during the period under examination, in large measure as a result of the diversity agenda, along with broader access to film funding. After providing a context to queer filmmaking in Brazil and to exhibition in the 21^st century, the article analyses three key films from the last 6 years: Praia do Futuro (Future Beach, Karim Ainouz, 2014), Mãe só há uma (Don’t Call Me Son, Anna Muylaert, 2016) and Bixa Travesty (Tranny Fag, Kiko Goifman and Claudia Priscilla, 2018).