Resumo

The communication intends to discuss the use of songs in the film: Arabia (2017) by Affonso Uchôa and João Dumans, their potential as a narrative element and in the evocations of a certain nostalgia, to a certain Brazilian cinematography that thought about the world of work and placed as protagonist the oppressed.
In the film, the character Cristiano (Aristides de Souza) presents himself as an unlikely Benjaminian narrator. Their experiences/memories, their affective bonds, conditioned to a permanent displacement by the imposition of the need of the world of work and escapes. The songs in the film’s fabulation, with its musical discourse and its verbal poetics, trace a path closely linked with the nostalgia and orality of the narrator Cristiano. They carry an affective appropriation but extrapolate the “narcissistic identification” or the “oceanic feeling”, utopianly making present the idealization of a nostalgic representation of the worker and his collective experience.
In the silent cry of its storyteller and the troubadours on guitar circles, the film seeks community life, subjective identity, a common word. Listening to their hearts, the old horses will wake up one day and let the factory burn.