Anu é como um rio: a memória caminha pela água.

Abstract

In this work I sought to share about my process of conceiving the script and directing the fiction-reality short film, “O Sonho de Anu” (2024), made possible by the Aldir Blanc Law, followed by a film analysis, following the trajectory of Anu, a young woman originally from the African continent who retraces the steps of her ancestors through the territory of Paraíba, a place where three reunions aim to plant a new memory of the indigenous and black presence in the Brazilian imagination. The objective of this analysis was to particularize the dream, a guiding element in native cultures, as a narrative and poetic line in Anu's trajectory, which was followed by oral memory through audios contained in the film exchanged via WhatsApp with my mother, Daia, about practices fishing ancestors in the Sertão da Paraíba, make up this ancestral universe. Later, I analyzed the presence of the colonizer in the film, symbolized by the appearance of textbooks displaying the content of the “Official History”. When showing the content of the books, I chose the name “image skins” by Davi Kopenawa (2013) to refer to the replicas of paintings from the Brazilian colonial period, in which I chose “The first mass of Brazil” (1860) by Victor Meirelles (1832-1903), to carry out an imagery analysis that departed from the historical context in which it was produced, pointing out the contradictions and violence of the European civilizing process, through the perspective of the Countercolonialism of Mestre Nego Bispo dos Santos (2023). As a result, I suggested a reflection on indigenous and black history and representation in textbooks.