O Cinema em Camadas de Alejandro González Iñárritu

Abstract

This thesis highlights elements of mise-en-scène that enhance cinematographic language. The study problematizes how the articulation of the simulacrum, whether in the spatial coexistence between theater and cinema, or mediated by the character's transition between the real and the surreal, results in a layered staging and enhances the mise-en-scène of director Alejandro González Iñárritu. The hypothesis proposes that the films Birdman and Bardo build this layered staging by converging cinema and theater or by transitioning between the real and the surreal through the simulacrum. Therefore, the general objective is to investigate the possibilities of visual style linked to mise-en-scène available to filmmakers, tied to film technique, identifying the main characteristics of Iñárritu's creative process. Methodologically, the research utilizes film analysis of the corpus based on David Bordwell's conceptions. The initial scope consists of the works Amores Perros (2000), 21 Grams (2003), Babel (2006), and Biutiful (2010), examined under a narrative perspective and their interconnections, complemented by the film The Revenant (2015). The analysis of Birdman or (The Unexpected Virtue of Ignorance) (2014) expands the inquiry into understanding a staging built by the convergence between cinema and theater. Finally, the deepening of the elements of mise-en-scène, aligned with the hypothesis, takes place in the film Bardo, False Chronicle of a Handful of Truths (2022). As a methodological complement, interviews granted by the director to the media are used to broaden the understanding of his film poetics, based on the approach of the filmmakers' theory.