The discursive object taken for analysis in this article consists in a scenic-artistic fragment from the feature film O som ao redor (2012), by Kleber Mendonca Filho, by mobilizing an analytical dispositive, woven in between Pecheux, Lacan and Didi-Huberman, which takes the artistic as a rend of the image (AUTHOR, 2022). Such as a living artistic canvas, this fragment is painted and discolored in the movement of the material image that recaptures many other images in the interweaving of memory (Pecheux, 2007), social memory and body memory (Leandro-Ferreira, 2013), by fissures/rends (Didi-Huberman, 2013) woven by the artistic. The gesture of looking at minutiae in the artistic work as materialization of the poetic-political play makes it possible to analyze the scream tied to silence in the discursive functioning of the filmic images, in which forgetting emerges as shards fissuring memory within the actualization of language. How does the scream recapture images that scream and make mute/muted images scream through the knotting of (mis)encountered bodies? In the movements of the scenic image of "Washing the hands... bloodstained (hands)", in action in the analytical corpus, the metaphorical effect of outpouring water that sheds blood tensions the social in its contradictions. Thus, the "visible" image is opened up to the "opaque and mute image" (Pecheux, 2007, p. 55) by the action of the artistic as a rend, (un)stained/(dis)entangled by bodies that bleed. Mobilizing such analytical dispositive, as the analyst's gesture, shows that the artistic is structuring of art, therefore, it is open to drift, to alterity, in the material inscription of the real of discourse as resistance.
