"Uýra: A Retomada da Floresta" (2022), directed by Juliana Curi, is a visually striking and deeply evocative documentary that takes us on a transformative journey through the Amazon rainforest. At its heart is Uýra, a non-binary trans artist from Brazil, whose work and activism explore the intersections of identity, environmentalism, and indigenous heritage. Through the eyes of Uýra, the film invites us to reflect on issues such as transphobia, structural racism, and the ongoing environmental destruction of the Amazon.
The film is more than a straightforward documentary - it is an experimental and poetic exploration of Uýra’s identity and their deep connection to the forest. Uýra is both a symbol and a living embodiment of the complex intersections between art, culture, and activism. As a biologist, educator, and activist, Uýra - like their alter ego, Emerson - speaks out against the forces of colonialism, environmental degradation, and the oppression faced by marginalized communities, especially trans and indigenous people. In a country like Brazil, where trans people, indigenous groups, and environmental activists face systemic violence, Uýra stands at the forefront of a movement that merges the arts, education, and political activism to uplift the most vulnerable. The documentary opens in an unconventional manner, with the names of various artists scrolling across the screen. Are these individuals advocates for indigenous rights? Or are they people persecuted for their activism, sexual orientation, or gender identity? This list sets the tone for what is to come - an exploration of these themes, as the film moves between scenes of the Amazonian forest and a haunting, quiet performance within a cave.
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The structure of "Uýra: A Retomada da Floresta" is non-linear and deliberately fragmented. The documentary eschews traditional narrative forms and instead embraces a fluid, kaleidoscopic approach that reflects the complex web of themes it addresses. The film moves between different scenes and moments that are powerfully evocative, though sometimes seemingly disconnected, creating a mosaic of ecological, social, and personal reflections. At times, brief statements appear on the screen, but these don’t follow a conventional narrative thread. Phrases like “A bare land,” “Pioneer species are recognized,” and “For ecological succession” offer glimpses into the broader ecological themes the film explores. An indigenous voice, rare in Brazilian society and almost unseen in cinema, introduces fragments of narration that are equally fragmented, blurring the lines between the personal and the collective. These moments often ask profound questions, such as "Do you see it? Without fear?" - inviting the viewer to engage deeply with the film’s themes. This narrative form may be disorienting for some viewers, as it lacks the clarity of a linear structure. Yet, this very ambiguity creates a sense of immersion. The audience must be open to navigating this labyrinthine approach, where Uýra’s life, the preservation of the natural world, and the concept of identity and belonging intertwine like a flowing river. At times, Juliana Curi captures reality with distance, observing events as they unfold. At other times, she creates fictionalized moments for cinematic purposes, blurring the lines between documentary and art.
The film oscillates between these two poles - sometimes offering intimate, spontaneous glimpses of Uýra’s life and other times transforming them into an object of study or a co-author of the narrative. A key feature of the film is the performance sequences of Uýra, which are fragmented and spread across different points of the documentary. One performance - an exploration of water pollution in Manaus - is presented first from Uýra’s perspective and later from the audience's point of view. The film doesn’t follow a clear, structured approach to performance, often isolating these pieces from the narrative and presenting them for the viewer’s contemplation in an abstract form. This fragmented approach extends to Uýra's personal life, where quiet moments - buying fruits, conversing with friends - interrupt the otherwise ethereal and artful atmosphere of the film. The film’s visual aesthetic also contributes to its disorienting effect. Some images have a high level of texture and detail, while others feel more like amateur footage, with pixelated moments that seem intentionally raw. This contrast between pristine cinematography and lo-fi visuals speaks to the film's themes of disintegration-both in the environment and in society-and invites the audience to reflect on the divide between the natural world and human-made systems of control and destruction.
"Uýra: A Retomada da Floresta" functions almost like a cinematic jam session, freely blending various elements and moods. The result is a beautiful yet unpredictable journey through Uýra’s life, activism, and art. On the one hand, this creates a cohesive, ethereal narrative tone. On the other hand, some of the film’s post-production choices may seem random, reflecting a certain freedom in its artistic vision. This lack of clear structure may seem chaotic to some, but it aligns with the film’s broader philosophy - a belief in artistic freedom and the right to create without boundaries or expectations. In this way, the film itself embodies the spirit of resistance and liberation that Uýra champions. The film’s core message aligns with Uýra’s own advocacy: the idea that the fight to protect the Amazon rainforest and the fight for gender and sexual diversity are inextricably linked.
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The destruction of natural resources and the oppression of trans and non-binary individuals share a common root in the disregard for difference, otherness, and the need for immediate, consumable gain. Uýra suggests that the same forces driving environmental destruction are also behind the violence against marginalized communities. To resist this violence, the response must be one of gentleness, care, and recognition of the intrinsic value of all forms of life. Rather than presenting a direct political critique, the film chooses a more subtle, affective approach. Curi avoids naming political parties or figures responsible for violence against nature or marginalized groups. Instead, the focus is on personal empowerment, collective sharing, and a positive, uplifting ethos. The film asks us to look inward, to find common ground with others, and to understand that real change comes from within - through a conscious and collective reimagining of our relationship with the world and each other. One of the most poignant aspects of "Uýra: A Retomada da Floresta" is the fusion of environmental preservation and the protection of sexual and gender diversity.
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The documentary suggests that the same forces that attack rivers and forests also seek to destroy trans, queer, and indigenous identities. The disregard for nature and difference is deeply entwined in a violent, predatory system that feeds on exploitation. Thus, the response to this violence is not through aggression but through care, beauty, and collective action. In the end, the documentary offers few factual details about Uýra’s past, their journey, or their achievements. Instead, it leaves viewers with a profound understanding that we are all part of nature, that we share a deep connection with forests, waters, and animals. The concept of human nature lies at the heart of this humanist film, which focuses more on the psychological and intimate aspects of existence than on overt sociological intervention. "Uýra: A Retomada da Floresta" encourages us to look at ourselves and each other with care, empathy, and mutual respect. This is not a film about external change but about internal transformation - a meditation on identity, belonging, and our place within the natural world. The documentary ultimately presents a peaceful, almost meditative worldview, asking us to reflect on our relationship with the environment and one another, challenging us to embrace empathy, and inviting us to embark on a journey of self-discovery and collective healing.
Image credits: YouTube
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