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This essay focuses on the films Permanent Pan-cinema (2008) and The Passion of JL (2015), both by director Carlos Nader, from different perspectives, trying to understand their distances and approximations since the analysis of their contexts until, and especially, how each film elaborates images and narratives, past and present, constructing very particular constellations. While the first one parts of Tropicalist movements and their expansions, based on arrest, desire to be a writer and the multifaceted work of Waly Solomão, which, just needed to be filmed to begin acting, the second film starts from the juxtaposition of Leonilson’s voice to his works and brief archives to situate the context, without even showing his body, in a movement that is not so natural, explaining, from the scripts themselves, how the biographical genre will be given in a different way in each film. To do so, we will approach ideas about memory, experience, and fragments that go through time. However, we do not propose a comparative analysis of the films, but rather an attempt to understand the constitutive signifiers of the various works that are shown, of the two artists and, consequently, of the contexts permeated in each length.

cadernos benjaminianos

Dois filmes, imensas constelações: Pan-cinema permanente e A paixão de JL / Two Films, Immense Constelations: Permanent Pan-cinema and The passion of JL