Cinematic realism is fed by reality to reflect on it. It is distinguished from traditional documentaries because it does not claim to be objective. Werner Herzog has made more than 50 realism films, and among them are found a series of portraits of extraordinary characters. This text examines two of these: Meeting Gorbachev and Nomad: In the Footsteps of Bruce Chatwin. Both films seek to tell a biographical story that has implications for the present. This study sets out to reflect on the ways of remembering, on the interview, and on performance in cinematic realism. The study is divided into parts of rhetoric –arguments, arrangement, and figures of speech– to see how these stories are shaped by the German filmmaker.

The performance "A rapist on your way" appeared in Chile at the end of 2019, and then it was reproduced in nearly three hundred cities on all continents. In this article, performance is contextualized considering feminism and feminist art, significant movements due to their capacity for action. His narrative is then examined in the light of the thinking of Segato and other authors, who have shown how sexual violence is associated with a patriarchal power structure. Finally, this manifestation is analyzed considering its performative character, whose expression makes the body a territory of resistance and resignification, taking up the ideas of Turner and Butler on performance as a “social drama” liminoid and antistructure.

WThis work analyzes, from the perspective of road anthropology, the way in which our individual bodies, historically and culturally, are shaped as road bodies. The conceptual framework draws mainly from various currents of Goffman and Bourdieu's sociology, performance anthropology, proxemics, phenomenology, and the political economy of culture. I analyze the various origins of road anthropology from my own biography as an anthropologist, and how the ethnographic experience gave rise to a new conceptualization of road cultures and their links to actual bodily practices on streets and sidewalks. I include comparative ethnographic cases from England, the United States, Uruguay, and Argentina, experienced and observed, that illustrate how culture, society, and the state can shape our road bodies.

Wn this text I offer a reading of the role that collectivity can play in promoting encounters between people who have gone through circumstances of terror. The material presented here is the result of two extended research stays in El Paso, Texas; one of four months in 2012, and the other of one year in 2014. During these stays I conducted 19 in-depth interviews, participant observation and collaborative work with the organization Mexicans in Exile. Here I analyze under the approach of performance the work of denunciation that has been carried out from the organization; to propose that the membership has developed a political performance that, sustained in three processes of reconnection (subjective, community and political) promoted by the constant encounter and exchange, has allowed them to make their narratives visible and reach the international public sphere.