The dissertation intervenes in queer and Brazilian studies by reframing sexual narratives of Brazil’s modern subject formation through contemporary queer cultural productions. It argues that the colonial employment of temporal terms such as origin, progress, development, and copy established longstanding narratives of Brazilian nationality, culture, and sexuality as backward. Through the mixed-race symbol of the mestiço, early twentieth-century nationalist discourse fashioned a vision of the country’s past and future based on European heterosexual intervention, which “docilized,” therefore “developed,” the country’s regressive subject. The project counters this perspective, which remains popular in contemporary Brazil, by attending to writer Oswald de Andrade’s founding text for Brazilian cultural practices, Cannibalist Manifesto (1928). It argued for the Brazilian writer’s critical “cannibalization” of dominant cultures to reevaluate the country’s place in the modern world beyond the colonizer’s temporal markers. Yet, theories on how Oswald challenged Brazil’s cultural expression and modern subject as copies of Europe have lacked attention to the strategy’s entanglement with sexuality. Combining the Cannibalist Manifesto with queer theories of temporality, the dissertation argues that breaking apart the time of the colony through Oswald’s cannibalism also requires dismantling the sexual assumptions of the modern Brazilian subject as a product of mixed-race heterosexual reproduction. It thinks with Oswald’s strategy and queer theory to argue that film, experimental art, and activism have queerly troubled Brazil’s scripted past, present, and future by apprehending the dominant tools that compose the country’s modern subjectivity while remaining critical to Western queer literature. Through Karim Aïnouz’s film Madame Satã (2002), Hélio Oiticica’s anti-art experiments, and protests demanding justice for Marielle Franco, the dissertation composes a cannibalist form of reading, documenting, and enacting nonheteronormative sexualities with and through the apparent rigid structure that frames Brazil’s past, present, and future, provoking a reckoning of how the employment of time can establish narratives of nationality, culture, and sexuality.