Martin De Mauro Rucovsky


Different recent cultural productions in Latin America, put the focus on the sexual nocturnal landscape to show the itineraries and movements of bodies and desires. In La noche (2016), as well as in the filming journal Como en la noche. El lado oscuro de una ciudad despierta (2018) of Edgardo Castro, the nocturnal departures and the corporal links of Martín and Guada build a trash aesthetic that points to an affective modality of precariousness of low tune; affective atmosphere as a procedure and mode of production that the same film explores in terms of dynamics of sexual sensation and gymnastics of the protagonists and also as a transitory encounter. Fleeting modes of encounter are also attempted at night, areas of political and contingent pacts that from a very unique way of the affective-precarious-the low psychic tuning other modes of circulation and other flows of bodily affections of sexual dissidence. And that is their narrative strategy, based on the exhaustion of identity norms, their global categories and their respective neoliberal ethos, in order to bring to the stage another affective modality of sexual dissidence, the minimal and tenuous life, the fleeting alliance with a trans girl.


Neoliberalism; Affects; Sexual Dissidence.

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