Abstract

This article aims to discuss the Brazilian short film Ashes in the Pantanal (2021), lasting 3 minutes and 21 seconds, in its aesthetic devices, and bets on its constitution as an emancipated filmic work. The work depicts the great fires that occurred in the Pantanal in 2020. The film by filmmaker Mariana Marques and animated by Tiago Franco, produced in stop motion, used scenarios and characters made in origami by artist Elder Alves, requiring more than 350 team working hours. The short film was financed with funds from the Aldir Blanc Law, with the mediation of the Municipal Department of Culture and Tourism (Sectur) and the Municipality of Campo Grande - Mato Grosso do Sul. This work is linked to the research Cine childhood: critical perspectives of cinema – education, UEMS (State University of Mato Grosso do Sul), and the study and research group GECCAE (Group of Critical Studies in Culture, Art and Education). The theoretical contribution of film analysis undertaken here is linked to Critical Theory theorists, especially Adorno (2003), Adorno and Horkheimer (1985), Horkheimer (1939), Benjamin (1994), Fraser and Jaeggi (2020) and cinema, Tarkovski (1998), Vanoye; Goliot-Lété (1994). The choice of the film Cinzas do Pantanal is due to the strong appeal that the production presents to the preservation of this rich Brazilian biome that suffers year after year with fires during the drought period. The film analysis will permeate both the audiovisual techniques used and the socio-environmental and educational issues related to the theme.