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In this article, we ponder how exile impacts the act of filming and its results in amateur filmmaking. I do so by studying the family films made by Herbert Duschenes, a German, partly Jewish architect and art history lecturer who moved to Brazil in 1940. I specifically analyze a sequence of the short film Ronny – 1949-1950 (1950), part of his earlier work focusing on the family he started in São Paulo. Thus, I address the sensitive relationship between the native household help that appears ondoi:10.6092/issn.2280-9481/10513 fatcat:dn6zlqam55binllhwwgf2576ri