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Abstract The discussion about urban rivers, in its interface with leisure, is the theme of this research, focusing on the Brazilian city Foz do Iguaçu, located in the Tri-Border Region as well as Puerto Iguazú (Argentina) and Ciudad del Este (Paraguay). The general purpose of this research is to identify and discuss the social appropriations and leisure experiences that happen on urban rivers Paraná and Iguaçu and their banks. The present study also aims to understand their transformations and the contradictions, and also how locals give meaning to these fluvial environments. The methodology of this qualitative research included documentary research, observation and interviews with 23 inhabitants of Foz do Iguaçu. Through this study, it is possible to see that the appropriations and leisure experiences have become punctual due to urban and environmental changes that overlooked an inclusive dimension between the city and its fluvial environment. There is still, in the rivers and their banks activities such as recreational fishing and adventure sports, which assign different meanings to these rivers through ludic, contemplative, spiritual, and interactive experiences with the waters. A privileged look focused on tourists has been prioritized and this has had an impact on public and democratic leisure areas for dwellers near rivers and its banks.

This article aims to investigate the intersections of gender/race in the socio-spatial trajectories of black filmmakers, with a view to understanding the strategies they use to face racism and sexism, in their filmmaking and in their leisure experiences. The research is based on the contributions of decolonial thought, intersectional black feminism, critical studies of leisure and cinema. The methodology of this qualitative research included a bibliographic study and in-depth interviews with seven black filmmakers, which were analyzed using the Discourse of the Collective Subject-DSC technique. The main strategies that have the power of meaning to face racism and sexism in filmmaking and in the leisure experiences of the interviewees are the narratives of themselves, participation in associations of black collectives and film festivals with a black theme and the experience of a "differentiated leisure", which can be critically enjoyed, even if it is necessary to advance towards subverting the social, cultural and political reality established in our context. In conclusion, the socio-spatial trajectories of black filmmakers unveil inequalities aiming to break with the stereotyped social imaginary, reaffirming the relevance of an "unsubmissive leisure". ; Este artigo objetiva investigar as intersecções de gênero/raça nas trajetórias socioespaciais de cineastas negras, tendo em vista compreender as estratégias por elas utilizadas para enfrentar o racismo e o sexismo, em seu fazer cinematográfico e em suas vivências de lazer. A pesquisa fundamenta-se nas contribuições do pensamento decolonial, do feminismo negro interseccional, dos estudos críticos do lazer e do cinema. A metodologia desta pesquisa qualitativa contou com estudo bibliográfico e entrevistas em profundidade com sete cineastas negras, as quais foram analisadas com o auxílio da técnica do Discurso do Sujeito Coletivo-DSC. As principais estratégias que detém a potência de sentido para enfrentar o racismo e o sexismo no fazer cinematográfico e nas ...

The purpose of this article is to understand how hospitality is portrayed in films produced with the support of a program developed by the government in the State of Minas Gerais [Brazil]. The methodology of this qualitative research included a bibliographic study and content analysis of eight films. The results showed the complexity of interpersonal relationships in hospitality. The evaluative aspect that permeates hospitality can occur in different environments, establishing new practices and rituals during the process of receiving-hosting. Domestic hospitality predominates in the films analyzed and it is women who assume the role of hostesses. Another relevant result refers to socially marginalized contexts, in which reception can take place on the doorstep itself. It is concluded that the audiovisual productions analyzed portray several nuances of the hospitality phenomenon present in the Brazilian social imagination.