Resumo: Dos seus documentários em locações reais aos filmados em ambientes fechados, o cineastaEduardo Coutinho investigou incansavelmente os modos de falar de seus personagens, suas "invenções verbais", suas possibilidades de fabular, captando nesse movimento a complexidade e as modulações da língua portuguesa de camadas diversas da população brasileira. Este artigo revê essa dimensão fundamental do cinema de Coutinho à luz de Últimas conversas (2015), documentário editado postumamente por Jordana Berg, concluído por João Salles, a partir do material audiovisual daquele que seria o último filme do diretor. Em continuidade com essas preocupações, Eduardo Coutinho expressa em Últimas conversas um desejo de filmar crianças, por identificar nelas um momento originário da experiência da linguagem, em que palavras e sentidos ainda não estão cristalizados.Palavras-chave: Eduardo Coutinho; documentário brasileiro; análise fílmica. Abstract: Eduardo Coutinho, savage linguist of Brasilian documentary -The filmmaker EduardoCoutinho inquired tirelessly the way his characters talk, their "verbal inventions" and possibilities of fabulation, grasping in this movement the complexities and modulations of Portuguese language used by several segments of the Brazilian population, present in his documentaries filmed both at open-air and studio locations. This article reviews that fundamental dimension of Coutinho's filmwork in the light of Últimas Conversas (2015), posthumously edited by Jordana Berg, and concluded by João Salles, working from the director's unfinished materials. Going further in his concerns about cinema, Coutinho utters in his last film the desire for recording children, identifying in them an originary moment in which words and meanings are not yet fully crystallized.

This paper talks about the documentary O fim e o princípio [The end and the beginning], by Eduardo Coutinho, filmed in a small rural community in the state of Paraíba. The movie was shot without previous research, and favors meetings with the unknown, having as its focus interviews with elderly people.

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Filmmaker and scholar in her own right, and collaborator with Eduardo Coutinho on Edificio Master (Master Building, 2002), Consuelo Lins's essay focuses on Coutinho's final, uncompleted film, Últimas Conversas (Last Conversations, 2015), which was posthumously edited and released, and which she reads through his earlier work and through her unique perspective, drawn from her prior working relationship with the filmmaker.