In 1986, in a run-down disco on the outskirts of Brasília, a group of policemen used a drug raid as an excuse to severely beat everyone present – or, perhaps not ‘everyone’, as the policemen were heard shouting: 'White out, black in.' Both of the film’s protagonists, musician Marquim and ex-dancer Sartana, stayed ‘in’ at the time. Today, the former is wheelchair-bound and the latter walks with the help of prosthetics. An intriguing, dystopian docudrama about the traumatized underclass living in the shadows of Brazil's futuristic capital, White Out, Black In explores the trauma of victims of racist violence in Ceilandia, a satellite city serving as a buffer to keep the rural migrants from moving into Brasília. In a world predicated on inequality, justice can only come from the future, as embodied by Dimas, an agent-researcher who arrives, Doctor Who –style, via a time machine in the shape of a cargo container, to collect testimonials from the two men and, generally, evidence of the abuse committed by the state against them. Film-maker Adirley Queirós tells the story by concentrating on the men’s lives in the present, instead of recreating their past. He also makes the brilliant choice of pushing his docu-drama into the sci-fi domain, to allow his protagonists stage a fantasy to exorcise their trauma. Who said that documentarists shouldn’t look at genre cinema?