Cine penumbra como praxis estética latinoamericana: preguntas por la luz en clave decolonial

Abstract

The article proposes the penumbra cinema category to affirm the configuration of a Latin American cinematographic aesthetic based on the analysis of two films: The last hour (Nicolás Testoni and Christian Delgado, 2020) and Lights in the desert (Félix Blume, 2021). Works that allow us to designate strategies of non-representability, in pursuit of a policy of the invisible. The gesture of losing the light gives rise to a dark visual enunciation and an indirect speech that allows to "outline towns". From the perspective of the history of art and the critical theory of culture, in terms of Eduardo Grüner (2017), the work assumes a critical position against the enlightenment and ocularcentrism of modernity. The proposal is part of a Latin American decolonial perspective, which seeks to subvert perceptive matrices typical of a historical mode of sensory perception, through situated penumbral experiences.