Travessias estéticas das Áfricas francófona e brasileira: Colonialismo e (anti)negritude em Soleil, Ô e Compasso de espera

Abstract

The global reach of modern colonial ideology has driven the production of highly productive systems of signification, such as racist and anti-black power devices. Their denunciations and challenges would manifest themselves in various forms and registers and, at the turn of the 1960s and 1970s, would find a high degree of expressiveness in cinematographic language. Fruits of this protest movement, the audiovisual works of Med Hondo, in the African and French context, and of Antunes Filho, in the Brazilian context, were notable for their critical thematization of the anti-black paradigm of the modern world. Adopting as a theoretical framework the studies of Wilderson (2021), Silva (2022) and Deleuze (1990), we propose an individual and comparative examination of the films Soleil, Ô (1967), by Med Hondo, and Compasso de Espera (1973), by Antunes Filho. From this comparison, we believe it is possible to elucidate possible confluences of the anti-black experience in the aesthetic formalizations carried out in two distinct but very similar contexts, judging by the similarity of the policies of denial of racism crystallized in the myths of egalitarian France and the Brazilian racial paradise.