| Summary: | The paper proposes a thematic-aesthetic mapping of Brazilian contemporary cinema, from two main axes of disruption: formal daring and socio-critical bias. For this, the authors selected after decade of national films in 1990, to reach a possible mapping of film works that contained in their production / direction some of these innovative way, with the typical marks of contemporary world cinema. To organize this possible archaeological mapping, inspired by Foucault and Mascarello Baptista, the authors have created aesthetic-discursive triggers, which served as guiding the discussions of films that could typify the mode of disruption of that work. From this mapping, we contemplate how the Brazilian contemporary cinema has innovated, using different aesthetic, discursive and enunciative features such as outlets unusual chamber, the differential chromatic use, the sound feature as filmic protagonist, between others. This cartographic discussion can then explain the different ways of speaking about and do is subject nowadays through dialogism between the work and the viewer looking artist and infamous, bringing us the vocation of art, which is immersed in an experience what is most original in life: our finitude and transience, as Heidegger and Nietzsche taught us.
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