ABSTRACT
There has been a tendency in Brazilian literature to represent the country through the use of space. In The Slum [O cortiço] (1890), an allegorical configuration reduces the country to a “domestic” space collectively inhabited and ruled by the power of private property. In recent Brazilian cinema, the domestic space returns as a representation of societal disintegration. The film The Tenants (Sérgio Bianchi, 2009) is in my point of view one of the most interesting recent movie productions on this issue.
KEYWORDS:
The Tenants (2009); Sérgio Bianchi; Brazilian contemporary cinema; PT era