AbstractThis article traces the emergence of a younger generation of Brazilian filmmakers whose works bypass traditional themes in Brazilian cinema such as urban violence and historical revisionism to engage in post-identity politics avoiding narratives of nation, class and gender. One of the most prominent features in these recent works is a questioning of the status of the image, which vacillates between fiction and documentary without a point of resolution. This vacillation can be understood in terms of the performative nature of films like The Monsters, The Residents, The Earth Giveth, The Earth Taketh and Avenida Brasília Formosa. Such films are centered around improvisations that open up the image to the real. Therefore, these films produce a space between fiction and documentary, between reality and artifice that is productive and politically charged. This article aims at discussing this "Brand New" Brazilian Cinema (Novísssimo Cinema Brasileiro) and the performative force of bodies in its affective realism. No longer a referent for a sociological truth about Brazilian society, realism is taken as something that the image does, i. e., as an affect that challenges the viewer's response-ability.

The "double" is a well-known Hitchcockian motif. Widely reviewed under a psychoanalytical perspective, the issue of the double still presents other important challenges and this article aims at discussing the queer doubles in Hitchcock's films as "falsifiers" who are opposed to non-queer doubles that emphasise narrative coherence and legibility. In films such as Rebeca, Rope, Vertigo, The Birds, Psycho, and Frenzy, a double condenses impulses that are well described by Lee Edelman: "the violent undoing of meaning, the loss of identity and coherence, the unnatural access to jouissance" (132). These doubles release the powers of the false as they complicate the return to an "order". Therefore, we could argue that such characters are closer to being Deleuzian simulacra than psychoanalytical doppelgängers.

A literatura de Cassandra Rios, cuja posição no cânone da produção brasileira é marginal, pode ser compreendida como um campo de batalha de forças que tanto constroem como fazem ruir a ideia de um ser lésbica como algo estável. Se, por um lado, há uma tentativa de legitimar esse modo de vida, por outro, uma escrita mais sutil, subterrânea e errática, desestabiliza essa legitimidade em nome de uma fluidez subjetiva que posterga a definição de uma identidade, ao trazer à tona uma série de transformações, linguísticas e diegéticas que propõem múltiplas formas de existência.

Cassandra Rios' works, while occupying a marginal position in the Brazilian literary canon, can be seen as a battlefield where forces both build up and destroy the idea of a stable lesbian identity. If, on the one hand, there is an attempt at legitimizing lesbianism, on the other hand there is a more subtle, subterranean and erratic writing which destabilizes this identity by bringing to fore a series of transformations, both linguistic and diegetic, which suggest multiple ways of being.