Pedro Neves Marques

Mirene e André estão com problemas de fertilidade. Carl e Vicente passam por um tratamento experimental para ter um filho biológico. Ambos os casais exploram o que significa construir uma família biológica em um mundo onde as linhas entre o natural e o artificial ficam cada vez mais desfocadas.

Mirene e André estão com problemas de fertilidade. Carl e Vicente passam por um tratamento experimental para ter um filho biológico. Ambos os casais exploram o que significa construir uma família biológica em um mundo onde as linhas entre o natural e o artificial ficam cada vez mais desfocadas.

Mirene e André estão com problemas de fertilidade. Carl e Vicente passam por um tratamento experimental para ter um filho biológico. Ambos os casais exploram o que significa construir uma família biológica em um mundo onde as linhas entre o natural e o artificial ficam cada vez mais desfocadas.

Today it is impossible to imagine the world and our understanding of sexuality and gender without psychoanalysis. But what if Sigmund Freud had died before its invention? Inspired by time-travel stories, The Early Death of Sigmund Freud imagines the possibility of sending nanobots back in time to implant a brain disease in Freud before he invented psychoanalysis. While the nanobots go about their business inside Freud’s skull, we watch a list of key moments in Freud’s life and when best to kill him.

The Ovary is a short film narrating the attempts of a gay couple to reproduce biologically through an ovarian implant in a cis man. Imbued with an intimate and sensorial relation to images and accompanied by a cover of Lana Del Rey's pop song "Let me love you like a woman," The Ovary is a raw and haunting approach to the online fan fiction genre Mpreg (a term short for male pregnancy) and its tense, but also visionary, relation with surrogacy, privilege, and homonormativity. Together with the short film Meat is Not Murder, the film falls under the rubric of what I call Medieval Bodies, a set of films echoing contemporary issues surrounding queer reproduction and gestation, fears of artificiality in biotech, and the fluidity between human and nonhuman bodies.

Meat is Not Murder is a short film narrating the dilemma faced by an animal rights advocate and hardcore vegan when confronted with the possibility of eating cellular-grown lab-made meat. Both funny and gruesome, the film is imbued with an intimate and sensorial relation to images and music, creating an emotional narrative about the making of bodies, whether human or not, in science and preconceptions surrounding what is deemed natural and unnatural. Together with the short film The Ovary, the film falls under the rubric of what I call Medieval Bodies, a set of films echoing contemporary issues surrounding queer reproduction and gestation, fears of artificiality in biotech, and the fluidity between human and nonhuman bodies.

Entre uma casa na Mata Atlântica e uma fábrica de mosquitos geneticamente modificados em São Paulo, uma relação poliamorosa e não-binária procura sobreviver a uma epidemia que atravessa o Brasil.

Entre uma casa na Mata Atlântica e uma fábrica de mosquitos geneticamente modificados em São Paulo, uma relação poliamorosa e não-binária procura sobreviver a uma epidemia que atravessa o Brasil.

Entre uma casa na Mata Atlântica e uma fábrica de mosquitos geneticamente modificados em São Paulo, uma relação poliamorosa e não-binária procura sobreviver a uma epidemia que atravessa o Brasil.

Entre uma casa na Mata Atlântica e uma fábrica de mosquitos geneticamente modificados em São Paulo, uma relação poliamorosa e não-binária procura sobreviver a uma epidemia que atravessa o Brasil.

Aimed at generating a revolution in perceptual habits, Semente Exterminadora approaches Indigenous knowledge as a radical means of reconceiving the relationship between humans and their environment in the twenty-first century.

Aimed at generating a revolution in perceptual habits, Semente Exterminadora approaches Indigenous knowledge as a radical means of reconceiving the relationship between humans and their environment in the twenty-first century.

Aimed at generating a revolution in perceptual habits, Semente Exterminadora approaches Indigenous knowledge as a radical means of reconceiving the relationship between humans and their environment in the twenty-first century.

The film presents a speculative exercise about the relation between ecological theories and sociologic, economic and management models. Such reflections are intercalated with tales about the ritual of anthropophagy in Brazil in the early 16th century, whose imaginary defines the film's visuals, be it microfilms of books and etchings, or museological and graphic material on Amerindian socio-cosmologies.