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The work of Chico Buarque can be classified as a unique synergy of different art forms. This investigation focuses on the intersection of literature and film, in which I analyze the novels and the filmic adaptations of Benjamim and Budapeste, while examining the transposition of media as a product and a process of creation and reception. Based on the concepts of Linda Hutcheon and Silviano Santiago, I propose that an adaptation, insofar as the process of creation and reception is concerned, may be located in the threshold between the novel and the film. This locus between two forms of art encourages a repetition with variation, as well as the adjustment, or adaptation, of the product itself in the process of reception. Moreover, the present study introduces an analysis of the novels featuring the narrative structure of Benjamim as a mechanism to represent the chaotic state of the protagonist’s mind in his ultimate delirium, and the predominance of language in Budapest as a reflection of the contemporary world through the linkage between reality and fiction. The (non)transposition of these, and other, peculiarities pertinent to Buarque’s novels, into their homonymous films evokes the filmmakers’ rationale in creating a new product, in a new medium that provides the spectators with the experience of oscillating from one medium to another based on their memory and relationship to the adapted work.