This essay considers the dystopic dimension of post-Shoah (Lanzmann, 1984) reenactment cinema, closely reading the figuration of return, dislocation, and a-filiation in Andrea Tonacci’s Serras da Desordem (2006). An allegorical meditation on the audiovisual erasures and rewritings of National History, Serras tells the story of Carapiru, an isolated Indian from the Awá-Guajá tribe who reenacts events that took place twenty to thirty years earlier, mainly his first contact with non-indigenous Brazilians after an attack ordered by landowners disperses and kills members of his family group.