ABSTRACT This article analyses Maria Augusta Ramos’s 2015 observational documentary Futuro junho (Future June), filmed in the Brazilian city of São Paulo in the lead-up to the 2014 FIFA World Cup. Taking as its starting point a connection, established by one of the film’s four main “characters,” or subjects, between Brazilian historian Sérgio Buarque de Holanda’s influential work on cordiality and the idea of circulation between public and private spheres, the article explores how circulation (economic, urban, media, and cultural) is portrayed in the documentary, as well as how it foregrounds both spatial and temporal movements. This is complemented by a discussion of the film’s own circulation through attention to critical reviews which have debated the film’s success in documenting, in a timely way, a national conjuncture characterised by crisis and conflict as well as unpredictability and rapid change. The article argues that by imbricating and intertwining multiple cultures of circulation, and by drawing attention to the varied economic and urban experiences of its characters and the spaces between them, Futuro junho captures a Brazil in flux.

中文翻译：

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在运动中捕捉巴西社会：玛丽亚·奥古斯塔·拉莫斯 (Maria Augusta Ramos) 的 Futuro junho (2015) 从亲切到流通和“之间的空间”

摘要 本文分析了 Maria Augusta Ramos 的 2015 年观察纪录片 Futuro junho（未来六月），该纪录片在 2014 年 FIFA 世界杯前夕在巴西圣保罗市拍摄。这篇文章以电影的四个主要“人物”或主题之一建立的联系为出发点，将巴西历史学家塞尔吉奥·布尔克·德霍兰达（Sérgio Buarque de Holanda）关于亲切的有影响力的著作与公共和私人领域之间的流通思想联系起来，探讨了流通如何（经济、城市、媒体和文化）在纪录片中被描绘，以及它如何突出空间和时间运动。通过关注评论性评论对电影自身的发行情况进行了讨论，这些评论对电影在及时记录方面的成功进行了辩论，以危机和冲突以及不可预测性和快速变化为特征的国家局势。文章认为，通过融合和交织多种流通文化，并通过关注其角色的各种经济和城市体验以及他们之间的空间，Futuro junho 捕捉到了一个不断变化的巴西。