Mari Corrêa

Too hot! The spawning fish do not come at the right time and the pepper plants end up dying in this heat. "This is a very different weather that not even the spirits can understand." From their gardens, homes, and backyards, the indigenous women of the Amazon involve us in their vast universe of knowledge while they observe the impacts of climate change in their ways of life.

Too hot! The spawning fish do not come at the right time and the pepper plants end up dying in this heat. "This is a very different weather that not even the spirits can understand." From their gardens, homes, and backyards, the indigenous women of the Amazon involve us in their vast universe of knowledge while they observe the impacts of climate change in their ways of life.

Too hot! The spawning fish do not come at the right time and the pepper plants end up dying in this heat. "This is a very different weather that not even the spirits can understand." From their gardens, homes, and backyards, the indigenous women of the Amazon involve us in their vast universe of knowledge while they observe the impacts of climate change in their ways of life.

In 1985, a daring worker of the Bureau of Indian Affairs in Brazil denounced a massacre in the lawless region of Corumbiara. The investigations turned to a series of indigenous genocides in the area. Spanning 20 years, the film shows the search for proof and the version of the survivors, when they were finally found, hiding in the forest, terrified of white men.

Tikmu'un - Maxakali hunters go out with their dogs and allied spirits in search of a capybara.

It's morning in a Tikmu'un - Maxakali indigenous village. The air is filled by fog, smoke from bonfires, and the smell of strained coffee - the people live go through their together and slowly. Later, they head towads the city in the back of a truck. Their presence at a market exposes a clash of two worlds.

In the Maxakali Vila Nova do Pradinho indigenous village, when the women miss their children who died young, the Tatakox go to dig them up and bring them to the villages for their mothers to see. Then, on the same day, the ritual continues as the living boys are taken by the spirits to stay in the men's house and learn.

In 1964, the Ikpeng Indians had their first contact with the white man in a region close to the Xingu River. Threatened in their territory by the invasions of miners, they are transferred to the Xingu Indigenous Park. The Ikpeng remember these moments and interpret episodes that the white man and his camera did not witness.

Shomõtsi is a witty and engaging Ashaninka Indian, a father who has raised his children alone. A neighbor and friend of the filmmaker, he discusses the Ashaninka uses of anatto dye, cassava and of Coca. Unlike whites, he says, Indians respect coca's medicinal power. Shomõtsi and two other elders go to a neighboring city to collect their pensions. They have to set up camp overnight waiting for their money and grumble about the materialism of the Brazilian shopkeepers. After making a few modest purchases, Shomõtsi gladly heads back to the village.