Producer
The Land Without Evil is the mythology that guides the Guaraní communities. It narrates the search for a lost paradise. From the moment that Europeans crossed the Atlantic, it became the anima of a resistance discourse. How many different weapons does it take for a fight? The solo exhibition of Patrícia Ferreira Pará Yxapy, one of the most engaged women among Brazil’s Indigenous filmmakers combines new works and the archive behind her audiovisual journey over the past 15 years, always in close collaboration with the Mbyá-Guarani Cinema Collective. It presents Indigenous cinematic practice as a tool of resistance and healing showcasing intimate and painful thoughts on the feminine, on spirituality, colonization, and the relationship to land.
Cinematography
The Land Without Evil is the mythology that guides the Guaraní communities. It narrates the search for a lost paradise. From the moment that Europeans crossed the Atlantic, it became the anima of a resistance discourse. How many different weapons does it take for a fight? The solo exhibition of Patrícia Ferreira Pará Yxapy, one of the most engaged women among Brazil’s Indigenous filmmakers combines new works and the archive behind her audiovisual journey over the past 15 years, always in close collaboration with the Mbyá-Guarani Cinema Collective. It presents Indigenous cinematic practice as a tool of resistance and healing showcasing intimate and painful thoughts on the feminine, on spirituality, colonization, and the relationship to land.
Director
The Land Without Evil is the mythology that guides the Guaraní communities. It narrates the search for a lost paradise. From the moment that Europeans crossed the Atlantic, it became the anima of a resistance discourse. How many different weapons does it take for a fight? The solo exhibition of Patrícia Ferreira Pará Yxapy, one of the most engaged women among Brazil’s Indigenous filmmakers combines new works and the archive behind her audiovisual journey over the past 15 years, always in close collaboration with the Mbyá-Guarani Cinema Collective. It presents Indigenous cinematic practice as a tool of resistance and healing showcasing intimate and painful thoughts on the feminine, on spirituality, colonization, and the relationship to land.
Herself
An intimate meeting between two women filming each other. An exploration of the relationship of two artists: an indigenous filmmaker and a non-indigenous visual artist and anthropologist.
Director of Photography
An intimate meeting between two women filming each other. An exploration of the relationship of two artists: an indigenous filmmaker and a non-indigenous visual artist and anthropologist.
Writer
An intimate meeting between two women filming each other. An exploration of the relationship of two artists: an indigenous filmmaker and a non-indigenous visual artist and anthropologist.
Director
An intimate meeting between two women filming each other. An exploration of the relationship of two artists: an indigenous filmmaker and a non-indigenous visual artist and anthropologist.
Director
Director
In the village of Koenju, in Rio Grande do Sul, young Mario and his "gang" make fun of the challenges of today's Mbya-Guarani reality.
Director
An immersion in spirituality and everyday life of the Mbya-Guarani from the Koenju village in Southern Brazil.
Cinematography
As Ariel Ortega thinks about the history of contact of the Mbya-Guarani, he tries to understand how his people got expelled from their land.
Director
As Ariel Ortega thinks about the history of contact of the Mbya-Guarani, he tries to understand how his people got expelled from their land.
Writer
Paloma, una joven psiquiatra enamorada de su trabajo, conoce en un hospital a Mario, un paciente inquietante y seductor que padece el síndrome de Korsakoff: una extraña enfermedad que altera la memoria y por la que Paloma está muy interesada. Empieza a tratarlo, y la relación entre ambos se hace cada vez más estrecha. Él le inspira sentimientos contradictorios, miedo y atracción simultáneamente, aunque ignora que la memoria de Mario oculta un pasado tejido de hechos perturbadores. (FILMAFFINITY)
self
Young leadership and audiovisual director, Patrícia Ferreira has been recognized for the documentaries she makes with her people, the Guarani Mbya. When asked to discuss her work at one of the largest ethnographic film festivals in the world, the Margaret Mead Film Festival, held at the American Museum of Natural History in New York, Patrícia is faced with a series of exhibitions, debates and attitudes that the they make us reflect on the world of “juruá”, contrasting it with the Guarani modes of existence.
