Abstract
This text is a reflection on the films Iracema, uma transa amazonica (Jorge Bodanzky, Orlando Senna, 1974), Mar de rosas (Ana Carolina, 1977) and Bye bye Brasil (Carlos Diegues, 1979), which are comparatively analyzed with references, on the one hand, from the audiovisual genre theory, specifically studies on road movies and, on the other, with some parameters of feminist conceptions of cinema, with a special interest in the question of the position of the gaze in the constitution of sexual distinctions.
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