Estorvo: a visual metaphor for liquid modernity

Abstract

The reflections undertaken in this article aim to demonstrate that the narrative of Ruy Guerra’s film Estorvo should be understood as a visual metaphor of the liquidity on which contemporary society is based. In addition, it is intended to question how, in this film production, the filmmaker, making the transition from literary to film language, concurs with the same conception of translation of theorists as Walter Benjamin and becomes a faithful translator of his time. Finally, we aim to identify how Estorvo captures the main social forces and channels them into an allegorical figuration of liquid modernity, in the mold described by Zygmund Bauman.