This article analyses the relation between cinema and history through the esthetics of the precariousness elaborated by a film director called Ozualdo Candeias. The mobility, the countryman orality as well as the precariousness esthetically worked out by mixing fiction and documentary, the disconstruction of classical cinema clichés are cultural trades between the urban world and the rural one raised by the industrialization and urbanization process intensified in the fifties of XXth century.
cinema; esthetics of precariousness; Ozualdo Candeias