The war cinema from Ceilândia

Adirley Queirós’s machines against Brasília’s utopia

Abstract

Adirley Queirós' cinema works from a logic of confrontation involving two cities: Brasília, the brazilian capital built in the 1960s; and Ceilândia, a satellite city in the Federal District where to many of the families excluded from the modernist project of Brasília were removed. In its plots of insurrection of the outskirts against the capital, Adirley's films recurrently invest in the friction between characters’s bodies, urban architectures and different types of machines. Aware of these imbrications, the article appeal to Deleuze and Guattari’s thinking to investigate how this war cinema forges its attacks on that utopian city project.