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The purpose of this paper will be to contrast the different modes of territorial imagination that two filmmakers, Geraldo Sarno and Jorge Prelorán, would have triggered in their documentaries for the figuration of Cariri and Humauaca valleys. To do so, I will examine the films Viva: Cariri! (1969/1970) and Hermógenes Cayo (1969), directed respectively by Sarno and Prelorán, seeking through them to identify the cinematographic resources that both of them would have used and the intellectual dialogues they established for the representation of those regions, situated, the first in the Brazilian Northeast and the second in the Argentine Northwest, based on the topics of isolation, in the case of Sarno, and desolation, in the case of Prelorán.

ENTRE SÃO SARUÊ E VALES VIZINHOS DAS NUVENS: UM ESTUDO SOBRE AS FIGURAÇÕES ESPACIAIS DO CARIRI E DE HUMAUACA