Abstract
<jats:title>Abstract</jats:title> <jats:p>In the twenty-first century, Brazilian queer cinema has gained significant momentum. This chapter examines recent productions that construct queer spaces that challenge national normativity and foreground figures like the bixa-travesty (tranny fag) and the sapatão de terreiro (backyard dyke). Several factors contribute to this invigorated queer cinema: democratized access to production through public funding, the rise of formally educated queer filmmakers, LGBTQ+ activism, and the contributions of queer people of color and those from marginalized areas. We analyze feature films such as Madame Satã (2002) and Esse amor que nos consome (This Love That Consumes, 2012, 2018), and shorts like BlasFêmea (2017), A felicidade delas (Their Happpiness, 2019), Perifericu (2019), and Veias de fogo (Veins of Fire, 2020). These films reimagine urban, domestic, rural, and cinematic spaces to embrace LGBTQ+ bodies, thereby disputing normative spatialities. This spatial reconfiguration also entails a reconfiguration of time, prompting the introduction of the concept of enqueerzilhada/enqueerzilhar. This term merges “queer” and encruzilhada (crossroads), a potent cultural symbol in Brazil representing the intersection of cultures and African ancestry, a multidetermined space of racial, class, gender, and sexual transits. The enqueerzilhada concept highlights these overdetermined spaces as reimagined by Brazilian films to acknowledge exclusion processes and render visible the lives and bodies in transit.</jats:p>