Abstract
- This article explores the figural frame in which realism as rawness is performed in the film Mango Yellow, whose radical imagery brings up the drought-stricken Northeast of Brazil. Having 60s and 70s politically engaged Brazilian cinema as a backdrop and intersecting this film with the classic literary representation of Brazilian northeastern poverty, Barren Lives by Graciliano Ramos, I look at the socio-cultural and philosophical correspondences in the film. I show that a different representational paradigm is forming to embody the once allegorical Brazilian Northeast and comment on how the explicit references to Schopenhauer, Nietzsche, and Sartre in the film are more important than the eye-catching explicitness of carnality.