ABSTRACT Taking as its point of departure Sérgio Buarque de Holanda’s theorising of O homem cordial (cordial man) and Gilberto Freyre’s foundational text Casa-grande & senzala (The Masters and the Slaves), this article will present a reading of Kleber Mendonça Filho’s second feature film Aquarius (2016) as a contemporary revision of the well-worn myths of intimacy and cordiality in Brazilian culture. It will focus on the complex relationship between maids and mistresses in Brazilian, and by extension, South American cultural history, and in particular the points at which unequal power relationships, superficially cordial and intimate, are dramatically undone.

中文翻译：

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Kleber Mendonça Filho 水瓶座的亲密和亲切

摘要 以塞尔吉奥·布阿尔克·德·霍兰达 (Sérgio Buarque de Holanda) 的 O homem cordial (亲切的人) 理论和吉尔伯托·弗雷 (Gilberto Freyre) 的基础文本 Casa-grande & senzala (主人与奴隶) 为出发点，本文将介绍对 Kleber Mendonça Filho 的第二部作品的解读电影 Aquarius (2016) 作为对巴西文化中陈旧的亲密和亲切神话的当代修订。它将重点关注巴西女佣和情妇之间的复杂关系，进而扩展到南美文化历史，尤其是不平等的权力关系，表面上是亲切和亲密的，在哪些方面被戏剧性地破坏了。