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this article examines the relationship between nature and affect in Post Tenebras Lux (Carlos Reygadas, 2012). It aims to understand the effects of the construction of cinematographic and affective landscapes from the analysis of the framing strategies used to depict natural spaces and human and non-human bodies. The analysis suggests that the interspersing of a series of sequences that are independent from the main narrative, the spaces become disconnected and autonomous, and disorganize narrative continuity while emphasizing the frame as the place for the materialization of affect. Hence, the article contends that the filmic space and the framing strategies emphasize the materiality of cinema and of the world, and connect nature, humans and animals, evoking multiple subjectivities, while also revealing the film’s concern with the immanent character of cinema.

Natureza, paisagem e afeto em post tenebras lux de Carlos Reygadas