Writer
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.
Director
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.
Sound Editor
Meu pai ficou desempregado e a família toda precisou voltar para a antiga casa no bairro da Bresser. Minha mãe procura saídas, mas não sabe o que fazer. Enquanto isso, eu os filmo. Um dia, ela é abduzida por um estranho objeto no céu. Nossa vida continua como se nada tivesse acontecido.
Producer
This intimate look at Éliane Radigue, French pioneer of minimalist and electro-acoustic music, explores the sensory singularity of her "sound sculpture" and its meditative virtues.
Director
This intimate look at Éliane Radigue, French pioneer of minimalist and electro-acoustic music, explores the sensory singularity of her "sound sculpture" and its meditative virtues.
Director
Erik Satie’s work is at the heart of modern music. However, who was Satie? An elusive genius or a visionary misanthrope? The film tries to sketch an identikit of the musician through his notes and the places he lived in. Musicologists mostly agree in describing Satie’s music as inhabited by voids and holes. The long pauses between one musical passage and the other are musical structures unto themselves; therefore, the filmmakers create a dissonant Satie-like universe in which empty spaces are adjacent to eloquent passages. Like a mysterious flower visible only to the eye that is willing to dance with its charm, the film unfolds little by little through mental associations and creative juxtapositions. There are no answers in the universe inhabited by the ghosts of Satie’s creations. Architectural forms and recollections from desires and acts of creative hubris compete to create a new world, which ultimately is the image of a new and more seductive pleasure principle.
Director
A man gets home and finds his wife dead. In a silent impulse he takes her body and plunges on the road. This man had never left his hometown, Brasília. When his wife dies, he leaves pushed by this emotional collapse, and submerges the road and it’s fortuity, searching to reconstruct his own reality. She survives in his memory. The road and its environment play an essential part in this man’s process: the landscape and the people, spontaneously. The Sun Against My Eyes follows this trip, from the countryside plateau to the fluminense hills.
Director
A return not to the origins, but to a place already filled with memories.
