cinematic reflection on invisible forces that historically direct and circumscribe socioeconomic contexts. I look for another possibility of self-presentation as a character layer formation, working with the affective memory of residents of the filmed neighborhood (last time filmed in 1978). When writing the dramaturgy from the personal stories also told in essay, I propose the team 75% black and 100% black cast of thinking other forms sensible and aware of being in the world, if perceiving politically in this. Thus, I work the afro-Brazilian experience peripheral outside the archetypes and stigmas already perceived in Brazilian cinema to produce diasporic and decolonial thinking. Through this fictionalization, we think of globalization seen from here.