Abstract

When watching a film, the spectator is faced with multiple perspectives, three of which stand out: that of the director - projected by the camera -, that of the protagonist of the narrative and his own. These perspectives guide the way a work is absorbed by the public and, consequently, how the author/director’s worldview is established in his filmography. For the feminist theorist bell hooks, the gaze has a power that invites from resistance to opening to other interpretative margins. Such elements are interesting for the understanding of characteristics of certain cinematographic constructions and, also, for the perception of how an alternative cinema presents itself from that. With this assumption, this article seeks to discuss how the elements of the classic narrative look and the opposing look are present in the cinema made in Amazonas in the last decade, henceforth the observation of two Amazonian films directed by women: “Strip Solitude” (2013, 20min), by Flávia Abtibol, and “Assim” (2013, 13min), by Keila Serruya Sankofa.