This dissertation focuses on the films, texts and ideas of film maker Carlos Reichenbach from the perspective of a corsair dimension. That is, as he is a combative and transgressive reader-author, who is always on the move, I want tohighlight these aspects, representative of both his stance and of the characters he presents to us. This study arises from Reichenbach s traces of reading and his text Why I Made This Film, a kind of ontological treatise or aesthetic and political program of his reasons for making films, in which he writes some propositions of the impossible – the construction of one s own imaginary geography, politic sentering through the back door, taking it seriously, discrediting it. These propositions by Reichenbach, who envisions his cinema as a conflicting bond between the search for pleasure and the certainty of violence that is always lurking, are the foundations of this research, which aims to inscribe his films, characters and writings in the different Brazilian political and cultural scenarios encapsulated between the end of the 1960s and the mid-2000s. The time frame of this investigation extends from the short film Sangue corsário, from 1979, to hislast feature film, Falsa loura, released in 2007. The choice of this collection offilms produced in this period answers the desire to analyze Reichenbach s cinema through certain types that wander through many of his movies and the universes that surround characters such as the damned poet Orlando Parolini and the working-class women of the ABC region of São Paulo.