Executive Producer
The name of Brazil’s biggest airport, Guarulhos, references the fact that it was built on indigenous territory. In a blend of realistic and stylised scenes, the film follows a member of the ground staff as she seeks her roots beneath the runway.
Producer
Greasy hair; grooved and unshaven face; emanating alcohol fumes. Raúl just doesn't care anymore. In the opening scene of Death Inhabits at Night, the unemployed writer pours himself another glass of cheap wine as an upstairs neighbour leaps to his death. His girlfriend is clearly more upset by the incident. A little later, she finds a letter by the door reminding them to pay the rent or be evicted. Raúl shrugs and suggests going back to bed. But all of this dismissiveness changes following a meeting with a troubled young girl.
Executive Producer
데사나 토착민인 45세의 유스티노는 마나우스 항구에서 경비로 일하고 있다. 그의 딸이 의학 공부를 위해 유학을 준비하던 어느 날, 유스티노는 원인을 알 수 없는 열병을 앓게 된다.
Producer
데사나 토착민인 45세의 유스티노는 마나우스 항구에서 경비로 일하고 있다. 그의 딸이 의학 공부를 위해 유학을 준비하던 어느 날, 유스티노는 원인을 알 수 없는 열병을 앓게 된다.
Executive Producer
Nuria, 12, Fabio, 9, and their mother arrive on a small island in the middle of the Amazon, bordering Brazil, Colombia and Peru. They fled the Colombian armed conflict, in which their father disappeared. One day, he mysteriously reappears in their new home.
Producer
Nuria, 12, Fabio, 9, and their mother arrive on a small island in the middle of the Amazon, bordering Brazil, Colombia and Peru. They fled the Colombian armed conflict, in which their father disappeared. One day, he mysteriously reappears in their new home.
Producer
2016년 8월, 브라질의 첫 여성 대통령인 지우마 호세프가 상원의원에 의해 대통령직에서 해임되었다. 그녀는 일련의 부패 스캔들과 혐의들 후에 공격을 받았다. 이 법정 드라마는 호세프의 변호인단의 관점에서 정치적으로 동기부여된 재판을 기록한다.
Producer
The ghosts of Boca do Lixo. Ido Oliveira still walks through Triumpho St.
Executive Producer
A young architect embarking upon his first major project is unexpectedly brought face to face with dark secrets from his ancestral past.
Producer
Associate Producer
Invented by the post-New Wave, the exercise is well-known: put a filmmaker in the frame, make him talk about his career, evoke his admirations, rummage in his methods, and add words to silences, spoken images to seen images. It’s always very instructive. As is the case here too. Chantal Akerman, passing through South America, talks about herself for an hour, and it’s fascinating. Even if her recalling of the relationship between the cinema and time makes up only a few rare minutes.
