In the collective’s prolific and extensive filmography, the gesture of deconstructing the audiovisual and cinematic grammar is inseparable from the disarticulation of the hegemonic perceptive, cognitive, representative and scopic regimes. Los Ingrávidos’ work shifts indeed to a theoretical reflection, formalised in a correlative film praxis, focusing on the intersection between different domination categories related to the capitalist-colonial-patriarchal system. Their films aim, precisely, to disarticulate the perceptive-cognitive models and the audiovisual and cinematic forms resulting from domination categories. 
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