Garden City Beautiful (2019)

Between hangovers and floods, the film proposes a reflection on the relationship between Rio de Janeiro and the forces of water from images of archives and soundscapes that evoke conflicting aspects, however constituting a city that, formed by grounding processes, seems have as destination the submersion.

There was once a very rich count, a slave owner, who had three daughters by his slave Olímpia: the three Marias. The count, who didn't want to dirty his feet in the mud, made the slaves build a path: The Stone Path.

In this deeply personal video diary, a young researcher tries to make sense of her fascination for the film "The Pain of Others" by Penny Lane. A deep dive into the discomforting world of YouTube and online conspiracies, that challenges traditional notions of what documentary cinema is, or should be.

Documentary about the works

Memories of the Brazilian slavery past overflow into ethereal landscapes and harrowing noises. Through a visual poetic essay, an intimate and sensory journey reflects on the silencing and invisibility of black people in diaspora.

In fifteen shots, all but one running for 90 seconds, the audio-visual landscapes of a video game are examined as its day-night cycle mimics passing time, and the radiant AI of its characters creates the illusion of free will.

Images from helicopters. Video recordings from the American and the French military forces in Afghanistan, Iraq and Syria. The intervention is taking place right before our eyes. How far can the desire to see lead to, when it has no limits?

First part of a collage / exposed series of a feverish delirium.

A film of a dying world populated by mythic creatures and spirits, our personal meditation on nature and the environment captured on Super 8 film.

Two images by unknown authors and unknown times share the war.

Melissa is 21-year-old college student and a mother, living in Para’s countryside; Marcelly, at 35, is unemployed and lives with her family in rural Amazonas. They are trans women living in different spots of the Trans-Amazonian Highway, a land where the long-awaited development has never arrived.

A meeting with music, composer, poet and sociologist Negro Léo. He gives his thoughts on the development of music, Brazilian and international politics, the rise of neo-pentecostal evangelical churches and obsession over social media, in parallel with his own life story.

Dorival, a man in jail, has only one wish: to take a bath. To achieve his objective, he defies the private, the corporal, the sargeant and, finally, the lieutenant in charge of the prison.

Una mujer bien vestida (Betty Amann) roba una piedra preciosa de una joyería de Berlín. Ella intenta seducir al policía (Gustav Frölich) que la captura, y él sucumbirá gradualmente a sus encantos.

When bandits take the town of Sertânia, Antão gets shot, arrested, and left to die. Bleeding out, Antão's delirious mind begins to recall the events that led up to the incident through a sequence of increasingly unreliable fever dreams.

In the city of São Paulo, the routine of gravedigger apprentice Deodato changes when a new working girl arrives at the cemetery. Together, they must re-register the abandoned tombs, but strange events make the apprentice wonder about the consequences of messing with the dead.

Kilvinski (George C. Scott) es un policía veterano que no sabe hacer otra cosa en la vida, aunque ha perdido bastantes facultades con la edad. Sólo ante la idea de la jubilación se echa a temblar. Su compañero es Fehler (Stacey Keach), un tipo muy decidido que lleva su profesión en las venas. Fehler se vuelca en cuerpo y alma con su trabajo, es capaz de arriesgar su vida en cada instante, sin pensar un segundo en su mujer, que le espera en casa atemorizada. Ambos tienen distintas formas de ver la vida, y distintos motivos para amar su profesión. Eso les convierte en unos tipos peculiares e implacables.

En Saute ma ville, asistimos al nacimiento cinematográfico de la cineasta belga Chantal Akerman. En su opera prima encontramos algunas de las máximas de su cinematografía: universo autorreferencial, la difícil relación entre el movimiento incesante de la vida urbana y la quietud, la cautividad -casi siempre femenina- en el hogar, etc.

Una creación asombrosa, Limite es el único largometraje del director y autor brasileño Mário Peixoto, realizado cuando tenía solo 22 años. Inspirada en una inquietante fotografía de André Kertész en la portada de una revista francesa, esta obra maestra muda de vanguardia se centra en un hombre y dos mujeres perdidos en el mar, cuyo pasado se revela a través de flashbacks impulsados ​​por la música de Erik Satie, Claude Debussy, Igor Stravinsky. , y otros. Limite, uno de los primeros trabajos del cine sudamericano independiente, fue famosamente difícil de ver durante la mayor parte del siglo XX. Es un logro pionero que continúa cautivando con su poesía visual atemporal.

En el castillo Vogeloed, unos aristócratas están esperando a la baronesa Safferstatt, cuando, de repente, aparece el indeseable conde Oetsch, al que nadie había invitado. Todos están convencidos de que él asesinó a su hermano, el primer marido de la baronesa Safferstat. Sin embargo, Oetsch, pese a no ser bien recibido, se queda en el castillo, arguyendo que él no sólo no es el asesino, sino que además encontrará a quien mató a su hermano.