Micheline
바그다드는 남자아이들과 어울리며 스케이트를 타고, 가족과 엄마의 친구들과 함께 시간을 보내는 평범한 열일곱 살 소녀다. 그를 아껴주는 주변 사람들과 달리, 세상은 여전히 여성을 차별하고 바그다드의 존재를 무시한다. 바그다드는 스케이트를 타는 다른 소녀들을 만나 세상에 맞서 점점 자신의 목소리를 높여간다.
Music
피라냐가 득실거리는 브라질 마을에 사는 나낭과 메우는 피할 방법이 도무지 보이지 않는 폭력 앞에서 스스로를 보호할 방법을 꿈꾸며 빠르게 사춘기로 접어든다. 어부의 그물에 의문의 시체가 걸리면서 두 소녀는 자신들을 보호해 줄 궁극적 수단이 무엇인지 깨닫는다.
(2021년 제38회 부산국제단편영화제)
An emotional geographic reading of the city of São Paulo, created through hundreds of love stories from its residents. Neighborhoods, streets, parks and houses that sometimes no longer exist, or are invisible to most people, come to life in the stories told by the inhabitants.
Music
Veronica, a young woman, lives in Recife, one of the most violent cities in Brazil. Her life is filled with fleeting love affairs and passing romances. As her father feels his death approaching, he asks a favor: that she finds true love before he passes away.
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.
