Abstract
This article analyzes films of the Coletivo Mbyá-Guarani de Cinema through the notions of time and history. The films denounce a violent past that remains in the present and strengthen their struggles for the territory and Bem Viver (nhanderekó). The focus of the analysis are the first films - Mokoi Tekoá, Petei Jeguatá (2008) and Bicicletas de Nhanderú (2011) -, when the group builds a collective filmmaking driven by the challenges of coloniality. To better understand this language, we make use of the concept of decolonial aesthesis, demonstrating that this indigenous narrative does not only combat Eurocentric discourse, but creates a singular storytelling anchored in the relations between orality, territory and ancestry.
Keywords:
Indigenous History; Cinema; Time