Critics reviews

Employing elemental visual effects, dusty vinyl cues, offhand cultural details, and Afrofuturist imagery, Queiros proposes, in strikingly original fashion, a cinema informed by histories both real and imagined, recollected and recorded–a composite approach typified by the best of contemporary nonfiction, but one only rarely balanced so expertly in the framework of fiction.

It's a too-rare instance in which a filmmaker can be found using pop music cues not just to siphon the emotional effect of a song, but to signal their function as vessels for collective cultural memory. Here, in this this film with a most fantastic premise, we find a compelling case for the historical necessity of the documentary project.

Though working with spare sets and low-budget materials, director Adirley Queirós creates an uncanny world... Queirós's film takes the form of a fantastical and extremely elliptical revenge fantasy, with an apocalyptic finale presented through a montage of animated drawings and DIY sound effects. A full quarter of White Out, Black In is simultaneously lethargic and inscrutable, but the remainder is captivating and utterly singular.

The single most challenging title [at Doclisboa] was Brazilian firebrand Adirley Queirós' stunning Branco Sai Preto Fica (White Out Black In)... Superimposing a fictional overlay over real-life research and events, White Out Black Inteemed with the urgency and heartbeat of the best new cinema being made in Brazil, as a "soulmate" to the work of the Pretti brothers, Gabriel Mascaro or Renata Pinheiro.