Abstract
<jats:title>Abstract</jats:title> <jats:p>Starting with a reflection on the affinity between cinema and cartography as forms of visual appropriation of faraway places by metropolitan subjects, the chapter argues that some films made in the Amazon by traveling filmmakers are notable because they go off the map. Rather than capturing Amazonian space within preexisting logics, these films reveal unmappable border worlds and world borders. Focusing especially on works that depict shamanic trances but including an array of other examples, such as documentary and fiction films by Maya da-Rin, the chapter proposes the notion of the “cinematic uncommons”—a concept developed in dialogue with Marisol de la Cadena and other scholars of the ontological turn to reveal the significance of films that engage with divergent realities in excess of the representational capacity of maps and of movie cameras.</jats:p>