Emilie Lesclaux

Lixue doesn’t ask herself if she likes Recife. She certainly doesn’t want to ask whether her new city likes her, after being sent there to live with her aunt. Aunt Lili owns an emporium of shops for Chinese import products and lives with her family and her workers on the 22nd floor of an exclusive apartment building. Much to the disapproval of the upper-class Brazilian landlords, who think the Chinese immigrants don’t belong in the tower. When Lixue disappears from the city, Ah arrives on the scene: the first tourist in Recife in years.

Небольшой городок где-то в бразильской глуши. Местные жители оплакивают кончину старейшей жительницы, которой было 94 года, и вскоре замечают, что их поселение исчезло с большинства карт.

Портрет несгибаемой и гордой женщины — стареющей вдовы Клары, чья судьба прочно связана с домом, откуда теперь ее пытаются выдворить. Любезность и щедрость меркантильного скупщика сменяется угрозами и откровенными кознями, но на счету у Клары есть победы и в более безнадежных войнах.

A photographer travels to São Paulo for his first solo exhibition and decides to stay in his now married, ex-girlfriend’s house.

Recife, undergoing so many changes, was the scene of a party of joy and tension, sports and politics. A happy experience, but full of the contradictions that make Brazil be Brazil and here wins the face and the space of Recife.

Léo goes on vacation at his cousin's, in a fishing village. There, he meets a girl who goes by the nickname Heartless.

Life in a middle-class neighbourhood in present day Recife, Brazil, takes an unexpected turn after the arrival of an independent private security firm. The presence of these men brings a sense of safety and a good deal of anxiety to a culture which runs on fear. Meanwhile, Bia, married and mother of two, must find a way to deal with the constant barking and howling of her neighbour’s dog. A slice of ‘Braziliana’, a reflection on history, violence and noise.

A not very good little digital still camera, our little neighbours and a football. Home movie.

A not very good little digital still camera, our little neighbours and a football. Home movie.

In tropical Recife, in northeastern Brazil, temperatures drop to impossible lows and the inhabitants have to adapt. This 'mockumentary' gradually turns critical, looking at the climate, urban development and social interaction from every angle. Does a ray of sun pierce the clouds, after all?

In tropical Recife, in northeastern Brazil, temperatures drop to impossible lows and the inhabitants have to adapt. This 'mockumentary' gradually turns critical, looking at the climate, urban development and social interaction from every angle. Does a ray of sun pierce the clouds, after all?

In tropical Recife, in northeastern Brazil, temperatures drop to impossible lows and the inhabitants have to adapt. This 'mockumentary' gradually turns critical, looking at the climate, urban development and social interaction from every angle. Does a ray of sun pierce the clouds, after all?

Seventy critics and filmmakers discuss cinema around the conflict between the artist and the observer, the creator and the critic. Between 1998 and 2007, Kléber Mendonça Filho recorded testimonies about this relationship in Brazil, the United States and Europe, based on his experience as a critic.

Seventy critics and filmmakers discuss cinema around the conflict between the artist and the observer, the creator and the critic. Between 1998 and 2007, Kléber Mendonça Filho recorded testimonies about this relationship in Brazil, the United States and Europe, based on his experience as a critic.

Seventy critics and filmmakers discuss cinema around the conflict between the artist and the observer, the creator and the critic. Between 1998 and 2007, Kléber Mendonça Filho recorded testimonies about this relationship in Brazil, the United States and Europe, based on his experience as a critic.

Seventy critics and filmmakers discuss cinema around the conflict between the artist and the observer, the creator and the critic. Between 1998 and 2007, Kléber Mendonça Filho recorded testimonies about this relationship in Brazil, the United States and Europe, based on his experience as a critic.

Seventy critics and filmmakers discuss cinema around the conflict between the artist and the observer, the creator and the critic. Between 1998 and 2007, Kléber Mendonça Filho recorded testimonies about this relationship in Brazil, the United States and Europe, based on his experience as a critic.

Seventy critics and filmmakers discuss cinema around the conflict between the artist and the observer, the creator and the critic. Between 1998 and 2007, Kléber Mendonça Filho recorded testimonies about this relationship in Brazil, the United States and Europe, based on his experience as a critic.

A middle-class family living in a house filled with superfluous electronic appliances see the arrival of a new item, a 29" TV-set.