ABSTRACT
This article examines Moscou, a film by Eduardo Coutinho, and its proximity of Tchekhov’s theatre through the exploration of their conceptual, philosophical and aesthetic connections. Moscou can be considered as a meta-film, a crucial moment in which Coutinho makes explicit his method of reflection and the epistemology of his cinematographic oeuvre. Centering the discussion on a dystopic aesthetics, we explore the construction of reflexivity, anti-naturalism, life as drama and the cosmic aspect of interiority.
KEYWORDS:
Tchekhov; documentary; anti-naturalism; reflexivity