Resumo

We agree with Jacques Rancière when he says “the act of writing is more than the exercise of a competence; it is a way of occupying the sensible and of providing meaning to this occupation” (2017). In the Recôncavo da Bahia, bodies and gazes are influenced by the experience of a black ancestral territory of oral tradition whose images and narratives were contained by an excluding Brazil. The UFRB, present in the region since 2006, offers a humanistic education, which fosters cultural entrepreneurs able to break the barrier of the hegemonic discourse and to give voice to images silenced and erased by history. It was in this powerful context that the directors Glenda Nicácio and Ary Rosa, through their own grammar and a local prosody, found a way of occupying this space and of taking the images of the Recôncavo to other spaces. Até o fim (2020), their third full-length movie, brings to the fore four black women, the Arcanjo sisters, who meet again after 15 years to toast the death of their father and to face their phantoms. Characters forged in ordinary life experiences help us denaturalize the blindness of these somber times. The narrative of death and the construction of “in-between” images (BOGADO, 2017) are film strategies that point to a form of fight and resistance. Facing an improbable country, the cinema asks us: how can we leave that island of embezzlement without drowning?