Guaraná, Bruno2023-01-042023-01-042022-09-01B. Guaraná. 2022. "Twenty Queers of Madame Satã" Film Quarterly, Volume 76, Issue 1, pp.45-53. https://doi.org/10.1525/fq.2022.76.1.450015-13861533-8630https://hdl.handle.net/2144/45416FQ contributing editor Bruno Guaraná reviews the significance of the Brazilian director Karim Aïnouz’s groundbreaking Madame Satã on the occasion of the film’s 20th anniversary. Guaraná argues that Madame Satã was a film ahead of its time. While in dialogue with queer theory and queer cinema contemporaneous to it—placing it squarely within a global queer film canon—it also anticipated now-current notions of transgressive representations of nonbinary identities in Brazilian cinema. To think about Madame Satã in its original context thus means also recognizing the quantitative and qualitative leaps in media representation of queerness and blackness since its release.p. 45-53enCopyright © 2022 by The Regents of the University of California. All rights reserved. Please direct all requests for permission to photocopy or reproduce article content through the University of California Press’s Reprints and Permissions web page, https://online.ucpress.edu/journals/pages/reprintspermissions.https://online.ucpress.edu/journals/pages/authors.FilmTelevision and digital mediaArticle2022-12-2810.1525/fq.2022.76.1.45765458