Léo Bortolin

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.

A group of friends travels to a beach house on an island on the brazilian seaside to celebrate the end of high school, a place virtually no one else inhabits and which is almost always dark. However, their drollery and parties are cut short by the feeling that the place shelters an unfathomable horror.

Would have one of the masters of Brazilian cinema always made the same film? From an encounter with documentarian Eduardo Coutinho recorded in 2012 and a vast amount of archive footage, this film offers a general look at Coutinho's work and testifies how the filmmaker’s thinking still stand the test of time to this day and age.

Russa returns to Bairro do Aleixo, in Oporto, visiting her sister and friends with whom she celebrates her son's birthday. In this short encounter, Russa returns to her neighbourhood's collective memory, where three of the five towers still exist.

The rubber tapper movement in the 1970s and 1980s, at the Brazilian state of Acre. What is a tie? “It’s the way we found to prevent deforestation. We stand in front of the farm workers and gunmen with our families, women, children and elderly and ask them not to cut down the forest and leave. They are workers too, and we explain them that their future is in jeopardy as well. This heartfelt speech always works. Simple, defenseless, unaware workers are the ones who cut down the forest.” (Chico Mendes. Jornal do Brasil. 13 days before he was murdered.)

A boy is buying vegetables for his family in a street market but suddenly something changes in the way.