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In this article we aim to discuss how public spaces and liminal zones play a central role in Marcelo Caetano's Bailão (2009), By your side (2011), and Electric body (2017). What is at stake in these films is the very possibility of experiencing urban locations as sites for affective encounters and erotic desire. Through an investment in relations and itineraries that take place in the margins, we trace a tension as well as a recurrent ambivalence towards the cities the characters inhabit. The cinematic form highlights the city as an imagined topography and also as a plane of perception composed of several modulations between disconnection and belonging, discipline and pleasure, proximity and exclusion.

Neste artigo, buscamos discutir alguns aspectos acerca do engajamento afetivo de espectadores de cinema nas suas relações com os filmes. Partindo das teorias do afeto, tomamos o longa-metragem Adeus, Dragon Inn (2003), de Tsai Ming-liang, como objeto que orienta nossa análise, uma vez que essa obra internaliza e torna visível um contexto específico de espectatorialidade. Além disso, destacamos as complexas codificações que incidem sobre as presenças em cena e, em especial, sobre os corpos masculinos.Palavras-chave: Corpo. Afeto. Cinema. Espectatorialidade. Tsai Ming-liang.