By being made of "expropriated" or "rescued" multimedia fragments (films, tv series, music, text, aleatory sound, my own photography, private footage), these montages in video (humble Gesamtkunstwerks, Artaudian mise-en-scènes, sorcelleries, Warholian recyclings of first class leftovers) enabled my Punk ronin to capture, connect & perhaps transfix many different no-man's-land kinds of constitutive influences and disruptive forces I experienced and was not able, for trivial reasons such as "lack of time" (which is infinite) or opportunity (which is whimsical), to otherwise conjure (for instance, in more traditional academic and theoretical writings: unsere Kampf mit einer dogmatisch strengen Orthodoxie). They grew out of precariousness and build on insufficiency, which is what mostly adds to whatever exquisite expressive values they manage to have. But expressionism needs not to be subjective.
Artaud meets Bresson (Robert) through le cinématographe-écriture: anti-theater, anti-cinema--méthode de découverte ensnaring "rapports d'images et de sons," des "échanges télépathiques" & divinations. Beyond the ideological controversies, there is something unavoidably pataphysical (puissance d'ébranlement, magnétisme, décalage, chevauchement, automatisme, prodige) that infiltrates the approach of Godard, Debord, Isou, going back to Dada and people like Raoul Hausmann. It is this that interests me in my own montages (des fleurs ranimées, fish coming out of nowhere, what André Masson once called épave), and I believe the pataphysical is actually also present in authorial cinema (see essays listed below).  
To some of these videos I have come back more than once: Crows in Berg (Inter) View, Pillage, Code Morel, One Hundred Forty Nine Inches, the Pleif Mapa chapters.
Some are connected to my (also experimental) writing of fiction: Arquipélagos dos Pombos Correios (still unpublished), the Pleif Mapa chapters.  
I'm including here a few videos that are rather juxtapositions without much interference (My Dream with Johnny 5 is the best example) and (more to the end of the assemblage) excerpts from films with which I didn't even meddled (many from Cinema Novo and "Cinema Marginal").
***I don't think it is useful or necessary to spotlight what I called constitutive influences (the montages have credits), but some of them can be here named more explicitly:
- in cinema, directors who have dealt with critical subjects and at the same time created atmospheres which expose intimacy, fragility and also sensuousness, such as Gus van Sant and Marcelo Piñeyro; others who were more aggressive and exuberant such as  Peter Greenaway, Pasolini and Xavier Dolan; also polemical, intrepid directors, who had a personal, experimental approach, being capable of conveying exceedingly idiosyncratic views such as Michael Haneke, Jean-Luc Godard, the first Raul Ruiz, David Cronenberg, David Lynch, Amat Escalante;  Brazilian and other very talented directors who were (at least sometimes) on the brink of being simply "unprofessional" (& is life itself professional?), such as Glauber Rocha, Rogério Sganzerla, Andrea Tonacci, Michel Gomes and Hervé Guibert; actors whose strong personalities end up colouring their characters, in particular women, such as Helena Ignez, Danuza Leão, Caterina Boratto, but also River Phoenix, the young Werner Schünemann (an actor from the South of Brazil), and even porn actors such as Matt Hugues and Cody;
- in music, very visceral, almost deranged interpreters such as John Lydon and Kurt Cobain; sophisticate, personalistic and also (at least in their own time) experimental composers such as Chopin, Olivier Messiaen, Stockhausen; electronic musicians that in the end are simply (for me) the most pleasurable but who are also intensely experimental and sometimes profoundly unconventional such as The Knife;
- in philosophy, aesthetics and literary theory, authors who paid due attention to the most avant-gardish and demanding challenges of artistic production in general, and who did not shy away from endangering intelligibility and their own credibility when it was necessary, such as Haroldo de Campos, Antoine Artaud, Jacques Derrida, Ricardo Piglia, Marcel Duchamp, Paul Klee, Henri Pousseur; 
The videos below are also available in my Youtube and Vimeo channels. 
​Some essays about cinema I wrote (for more theoretical writings see texts and book above):
- Narrative Outbreak in Contemporary Conflict Cinema: a case study of Steve McQueen's Hunger, in Adriana Martins et al., Mediations of Disruption in Post-Conflict Cinema (London: Palgrave-Macmillan), pp. 145-56, 2016 [*****Please, see also the ERRATA LIST for this essay];
- Nature s Horror and Grand Style in Lars von Trier's Antichrist, Panoptikum (Gdansk), v. 12, p. 269-277, 2013;
- Raquel e o Duplo ou — Programa Moderno de Produção das Garotas de um Diário, Revista Universitária do Audiovisual (São Paulo), v. 48, p. 1-6, 2012; 
- Beyond Subjectiveness: non-Realism and Ontology in Gus van Sant's Paranoid Park, Kinema (Waterloo), v. 33, p. 107-114, 2010;
- Improving on St. Peter: Woody Allen as impossible Cassandra, Kinema (Waterloo), v. 33, p. 49-55, 2010;
- Sobre o fio de José Padilha para laçar minotauro (triplov.com, 2008);