The thesis investigates, based on interdisciplinary bibliographic analysis, archival material and semi-structured interviews, how the multicentrality of the development of ideas and audiovisual productions contributed to the emergence of dramaturgical relational poetics in contemporary Brazilian cinema. The first chapter analyzes the culturalist, distributive, universalist and concentrationist aspects of the public and private sectoral policies developed by the audiovisual field, focusing on the small movement of regional deconcentration perceived in the first two decades of the 21st century. The second chapter presents the theoretical key with which the corpus is approached and outlines the concept of dramaturgical relational poetics, which supports the study of the practices adopted and the aesthetic results obtained by the audiovisual production companies Rosza Filmes (Rosza Films), based in Recôncavo da Bahia, and Filmes de Plástico (Films of Plastic), created in the metropolitan area of Belo Horizonte, in its fiction feature films. The third and final chapter unveils how its creative agents constructed their own and autonomous ways for the development and production of their stories and how, from their points of observation of the world, they sculpted original plots, which put landscapes, bodies and lives that were previously absent from Brazilian cinema screens. The thesis finds that new creative agents emerged and occupied a space in national cinema with fictional films focused on multi-centered affective repertoires, popular, but not massified, distinct in themselves. Finally, it recommends the reopening of political paths that enable continuity in the expansion of regional narrative diversity in Brazilian audiovisual production.