Father Julio Lancellotti tells the story of Marino, a transmasculine person who lived in the sixth century, in Lebanon, and who, after his death, was canonized as Santa Marina, considered, by progressive sectors of the Catholic church, the protector of gender identity. With scenes, reflections and interactions of a transmasculine group, the film promotes sensitive contemporary discussions about, for example, respect for the social name, resignifying Santa Marina into São Marino.
Self
In the post-pandemic future of covid-19, will the centrality be the financial casino and the accumulation of wealth by an elite or a quality life for all, with less inequality? Did the minimal state show itself capable of serving the collective? How to guarantee life without social and labor rights? What model of society do we want to live in? The film addresses the dismantling of the concept of social welfare and makes us reflect on the incompatibility of neoliberalism with a humanist project of society.
Maya is accompanied by Glória, her best friend, who promises that she will always be with her, into a clandestine appointment. Both trans women, Maya wants silicone, but a timely intervention leads her to change her mind. When they leave, it’s Christmas night and it’s pouring rain. They take refuge in a bar, owned by a Nigerian refugee named Kakule. Bia also takes refuge there, fed up with constant fights with her boyfriend. And so their paths cross.
About Rio de Paz
