Quilombo, Continuum

Quilombo, Continuum listens to the quilombo as living memory, Afro-diasporic technology, and a political practice of world-making and alternative forms of sociability. The film moves through time: from the 1988 centennial celebrations of abolition to contemporary invocations of the quilombo within Brazilian institutional politics — especially through the voices and presences of Mandata Quilombo and Quilombo Periférico. Against the persistent myth of racial democracy, the film attunes itself to the resonances of the Black Radical Tradition — echoing Beatriz Nascimento, Abdias do Nascimento, and Lélia Gonzalez — while activating, across time and space, quilombola tactics and imaginations that insist on opening generative breaches and lines of flight from within the very system.