Here I would like to focus on three related aspects of these aesthetics, namely: 1) their constitutive hybridity; 2) their chronotopic multiplicity; and 3) their common motif of the redemption of detritus. After arguing the special qualifications of the cinema for realizing such a hybrid, multitemporal aesthetics, I will conclude with the case of the Brazilian "aesthetics of garbage" as the point of convergence of all our themes, specifically examining three films literally and figuratively "about" garbage.