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by Ingá & Fabio Rodrigues Filho


Dates: October 27th and 29th, November 10th and 12nd, 2021

Time: 2:30pm to 5:00pm

Venue: Online

Workload: 10 hours

Attendees: 10



If, as Achille Mbembe (2017) writes, our era has been marked by the desire for an enemy, the desire for apartheid, and the fantasy of extermination - behavioral/structural weapons of the neo-liberal nation-State - we wonder if film criticism could be thought of from the notion of Friendship. This is not about responding to the policy of enmity¹, updated incessantly in the macro and microsphere where the other becomes a threat to its simple reverse. On the contrary, we imagine that, at the level of critical making and the relationship with images, to probe ethics of Friendship - more than to make it happen, given its inherent difficulty -, offers us, who knows, an encouragement and another form of relationship between images, people, realities, and worlds. But, of course, we recognize Friendship as a dissensual and generative challenge, so our interest in this proposal starts less from "becoming friends" than from being inspired by such policies.

Friendship is an "empty program at the bottom," Francisco Ortega reminds us, "a metaphor of the open that can replace the family in our affective imagination". Or again, as Agambem says: Friendship is not a property or a quality of a subject. Difficult to represent and translate, Friendship is an existential rather than a categorical: "is crossed nevertheless by an intensity that fills [us] with something like a political potency". There is no example or an answer in this proposal but a hypothesis to be tried out in film criticism.

Here we think of betrayal as an approaching method. A way to keep alive, in the relationship with the works, that dialectic of belief and doubt, so that the films are not automatically placed in the enemies' room or on the membership board of "our club" of principles. So that the works and the analysis appear in their indomitable form, in a do that goes reorienting the unpredictable dance of contact, the policies of Friendship in this proposal would not be synonymous with the agreement, but rather the implication of defiance. To give the motto, take the cue, and unfold the bet.

Theoretical, practical and experimental by nature, this workshop is divided into four virtual meetings and invites the participants to rehearse and create critical exercises about/with/after films scheduled in the FestCurtasBH 2021.


Políticas da inimizade, Mbembe (2017)

O amigo, Giorgio Agamben (2007)

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Por uma ética e uma política da amizade, Francisco Ortega (2004)

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¹ "In the framework of mimetic rivalry exacerbated by the war on terror, disposing - preferably in a spectacular manner - of your enemy has become an obligatory passage in the constitution of the subject and his entry into the symbolic order of our time". (MBEMBE, 2017, p. 81)


A starting point: could film criticism be thought of from the notion of Friendship? If our time is marked by the desire for an enemy, by the fantasy of extermination, we propose four meetings to elaborate practices capable of betraying the assumption of authority that threatens the disobedient exercise of criticism. What would be a friendship policy with the works? Inspiring us, perhaps, where Friendship is an ethical and political challenge, generative and dissensual, proximity and distance. A suggestion: We think that the notion of betrayal applied to criticism can revive the dialectic of belief and doubt concerning works - a method of learning, provocation, and placing oneself alongside works in danger. At the same time, the betrayal destabilizes a possible romanticism toward our starting point - the policy of Friendship. Unpredictable contact dance that far from trying to choreograph, we will allow ourselves to rehearse together in dialogue. In this workshop, we intend to exercise ways to reverberate, discuss and think about the FestCurtasBH 2021 programming throughout four meetings of 2h/each, permeated by correspondence practices, diaries, collective texts, essays, debate reports and unpredictable ways of talking.


Session 1. On the im/possibility of an ethics of Friendship


Escrever e Saber, Mia Couto (cad.2 - Material educativo 32 Bienal de São Paulo)

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A coragem do Segredo, Jota Mombaça

Available on:|inicial@f:pt

Como se fosse a casa: uma correspondência, Ana Martins Marques e Eduardo Jorge (2017)

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Session 2. Ways of listening, methods of betraying


Da grafia-desenho de minha mãe, um dos lugares do nascimento de minha escrita - Conceição Evaristo

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“O papel da crítica: rememoração histórica e exigências contemporâneas”, de Nicole Brenez (2020)


“O filósofo mascarado”. Michel Foucault (1980)

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Session 3. Critical correspondences or an endless essay


Altares do sacrifício: relembrando Basquiat. bell hooks PISEAGRAMA, Belo Horizonte, seção Extra!, 16 nov. 2018.:

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Um silêncio da imagem - Parte 1., Ingá Maria e Fabio Rodrigues

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Session 4. Learning communities: an uncommon for dissensus


Amar não é um gesto leviano, Camila Vieira e Laís Ferreira

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Constelações fílmicas: um método comparatista no cinema, Mariana Souto

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Leitura de Denise Ferreira da Silva: Como a arte social e ecológica flexiona a ideia de estética?

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Ingá is the editor of Cinética magazine, where she has dedicated herself to investigating other formats of criticism such as collective writing and video essays. She covered the festivals Janela Internacional de Cinema do Recife, Fronteira Festival do Filme Experimental and Mostra de Cinema de Tiradentes. He has facilitated video workshops in the projects Fazer o mundo, Fazendo o vídeo, Inventar com a Diferença, Vídeo nas Aldeias, and Festival do Filme Anarquista da Kasa Invisível. She held critique workshops in partnership with CachoeiraDoc and IMS/Cinética. She programmed film club sessions in partnership with the Catucá collective and was part of the selection committee for short films in the XII Janela Internacional de Cinema do Recife. She was born in Olinda (PE), is part of the education brigade of the Movimento dos Trabalhadores e Trabalhadoras Sem-Teto (MTST) (Homeless Workers’ Movemen), and is studying for a degree in cinema and video at UFF.

Fabio Rodrigues Filho works in film criticism, programming, research, and directing. He is currently working on his master's degree in communication at UFMG, and graduated in the same field at UFRB. He has participated in selection committees for festivals, exhibitions and laboratories, such as FestCurtasBH (2019 - 2021), Diaspora Lab (2018) and the IX CachoeiraDoc (2020), a festival which he has been contributing over the past years. He is a member of the research groups Poetics of Experience and Africas in the Arts. He collaborates with texts in sites, magazines, and several publications, such as the Cinética Magazine and the personal blog Tocar o Cinema. He is also a poster artist and film club member. 

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