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Pedro Costa's Casa De Lava (1994) draws on the cannibalistic potential of cinema in order to excavate the history of colonialism in Cape Verde. Cannibalism operates in a two-fold manner in Casa. Firstly, it refers to Costa's practice of employing cinematic references in order to draw out otherwise concealed elements of earlier films. Secondly, it denotes an aesthetic practice in which the film is cannibalised by the people and geography of Cape Verde. By operating in a zone between documentarydoi:10.31273/eirj.v7i2.461 fatcat:pakhweggb5cehc4zxb2rgmnam4