Mercedes
아버지가 모는 택시 안에서 태어난 우노는 차와 소통할 수 있는 능력을 얻게 된다. 비유가 아니라, 진짜로 우노는 차와 대화를 나눈다. 15년 이상된 차를 금지하는 정부의 정책으로 아버지의 택시 회사가 위기에 처하자, 농사의 꿈을 접고 아버지를 돕는다. 차와 대화할 수 있는 우노의 초능력과 삼촌의 노력은 성공하지만, 자의식을 얻게 된 택시들은 점점 우노의 통제를 벗어나기 시작한다.
A Danish summer: long days turn into blue nights. A tunnel is being built to connect Denmark and Germany. Three people meet and part ways again.
Wanda
In a salmon-coloured drawing room, a writer of sadomasochist literature now in her seventies narrates her turbulent, sexually explicit life story, once as her pseudonym and once as herself. What makes up a true biography, the real or the imaginary?
Ida
Caio and Mari are two young people living in a relationship that goes beyond any definition. Over ten years, the plot transits between three striking moments where their desires conflict and their relationship is put to the test. The film, originated from the short film of the same name in 2006, proposes a reflection on sexuality, labels and how time constructs and transforms relationships.
Self
Huntress
페르난도는 포르투갈 북부에서 희귀 조류를 찾아 트레킹을 하던 중 급류에 휩쓸리고 만다. 다행히 중국인 순례자들의 도움으로 목숨을 구한 뒤, 어둡고 음산한 숲에서 집으로 돌아가는 여정에 오른다. 이제 그는 완전히 다른 사람이 되어, 영감을 얻고 아마도 깨우침까지 얻은 것으로 보이는데...
To break with the logic of a historicist and positivist narrative, from the delirium, the mystical and the daydream. To search in the same cinematic experimentalism adventure, a time space image where the Angelus Novus is a call to risk and break with the linear logic of overwhelming conving story-telling. "For the incredible!" - Shouts the Angelus Novus.
Performance instead of acting and digital images enlarged and experimentally shot and edited.
Leandro is a young man frustrated by his job. His master’s thesis is on the military dictatorship in Brazil. That takes him into a search for recently deceased artist Jairo Mendes’ controversial film The Beheading Game, which was censored by Brazilian censors in 1973.
Marcela disappeared without leaving a trace. Those who were left to deal with her absence try to figure out who and what Marcela really was and the reasons behind her disappearance.
Ela
It was the first night of him at her house and all he wanted was to stay for breakfast.
Everything that can be imagined can be dreamed, but even the most unexpected of dreams is a puzzle that hides a desire, or the opposite, a fear.
Mulher no Pulgatório
영화 사상 가장 ‘매력적으로 사악한’ 악당으로 꼽히는 악의 화신 코핀 조, 그가 40년의 감옥 생활을 마치고 완벽한 후계자를 임신시킬 여성을 찾기 위해 돌아온다. 한편, 복수를 위해 그를 쫓는 부패 경찰과 신부는 추적의 손아귀를 조여온다. 살인, 섹스, 고문, 신체절단, 식인, 수간, 초자연적 현상, 브라질 토속 미신 등 호러 영화의 모든 요소를 집약시켜 브라질 사회의 문제점을 비추는 브라질 호러 영화 선구자 주제 모지카 마린스의 코핀 조 연작의 완결판.
A modern love story set in Sao Paulo about Heitor, a writer and literature professor, and Julia, a theatre student turned veterinarian. A fight over the telephone propels Heitor into a journey through the chaotic city streets to reconcile with Julia. Their personal history unfolds against the backdrop of the city and its people in a series of events representing the struggle between poetry and science.
From 2000 to 2007, Teat(r)o Oficina Uzyna Uzona worked on the staging of Euclides da Cunha's epic book, Os Sertões, which describes the 19th Century War of Canudos in the Brazilian "sertão"(backlands). The result was the pentalogy of plays: A Terra (2002), O Homem I (2003), O Homem II (2003), A Luta I (2005), and A Luta II (2006). This first play is a carnival opera, the actors are the earth, the vegetation, the wind, the animals, the rivers, the drought. It reveals the most intimate secrets of nature, that also vibrate in the human and trans-human arteries. This work enriched by the experience that the subsequent works brought gains an updated insight into the human interference in the environment. Destructive power is proportional to financial power, and the discussion about the way space gets occupied was brought to the forefront, including the real-estate boom that surrounds today not only Teatro Oficina, but the whole world, now hotter and more arid.
