Abstract
Abstract This article intends to explore the intersections of personal and cultural memory as expressed and mediated by the Brazilian film Viajo porque preciso, volto porque te amo/I Travel Because I Have to, I Come Back Because I Love You by Karim Aïnouz and Marcelo Gomes (2009). Crossing the generic boundaries of the road movie, the essay film and observational documentary, I Travel Because I Have to, I Come Back Because I Love You stitches together images shot on Super-8, 35mm, 16mm, mini-DVs and even still photographs, all of which testifies to the directors’ own personal memories. The film further appropriates literary and filmic references that together situate it within the vast terrain of cultural memory associated with the backlands (the sertão) in the Brazilian imaginary. This article aims to excavate this kaleidoscope of personal and collective memories, and argues that their reflection provokes meditations on history, culture and the passing of time.
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