Maeve Jinkings

The story of a group of kids in the summer of 1996 in an isolated fishing village on Brazil’s northeast coast. For a holiday 14-year-old Léo, a boy from the big city, comes to visit his cousins. He is introduced to their universe of freedom and meets a girl known to the other kids as ‘Sem Coração’ (Heartless), for a deep surgical scar she has on her chest.

In the Brazilian countryside, a family straining to care for their bedridden patriarch have their lives changed when a shady nurse offers a diabolical deal: put their elder to rest and host an Argentinian drug kingpin who urgently needs a place to hide.

Duetto takes place in 1965 and tells the story of 18-year-old Cora, a Brazilian from an Italian family who, after losing her dad in a tragic car accident, goes with her grandmother Lucia to Puglia, Italy, where her ancestral homestead still stands. Lucia, aiming to sell an old family land lot, reencounters her sister Sofia and her husband Gino, whom she hasn't spoken to in 40 years.

In 1965, a year after the military coup in Brazil, an oasis of freedom opened in the country's capital. The Brasília Film Festival: a landmark of cultural and political resistance. Its story is that of Brazilian cinema itself.

Down on his luck and recently divorced, Paulo has begun driving a cab around Rio, hoping he’ll make enough to send his ex money to support their ten-year-old son. He mostly works nights, so in addition to his encounters with a colourful variety of customers, colleagues, cops and others, he must cope with loneliness, fatigue and new faces in his life.

André is a broken man, who lives isolated in a forest. The forces of nature embrace his body as he drowns in his effervescent inner world. Between the insomnia and the dreams, André is haunted by his past. He wishes to deconstruct himself, heal his sorrow and take the responsibility from his acts. He puts himself before the abyss where he must embrace his ghosts and change his skin in order to survive.

The story of a family who has their lives crushed by the tragedy of the floods in Mariana (Minas Gerais, Brazil)

A short film omnibus featuring the work of five directors representing five countries involved in the 2017 BRICS summit, an annual international relations conference held between Brazil, Russia, India, China and South Africa. The collection—taking the concept of time as a unifying theme—depicts the economic, political, and social alienations and contradictions that create, compound, and structure issues as wide-ranging as poverty, class stratification, and homeless; familial distress; spousal abuse; and natural disaster.

​Nádia is a transvestite who wants to be a mother. She will be a mother. She is a mother.

Bethânia returns to her land, where the family’s old sugar mill was built, the Wanderley Mill. Between photographs, fantastic creatures, bills to pay and workers claiming their rights to the land, Bethânia faces herself in a present where both the past and the future look menacing.

At the heart of Rio de Janeiro's downtown, an empty square with a dry fountain and an underground parking. There was located the Monroe Palace, that once housed the Senate, and was mysteriously demolished forty years ago. A history of sabers and lions, military and architects, past and future.

Making of Neon Bull

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.

Iremar works at the rodeo in North East of Brazil. From his home, the truck he uses to transport the animals, he dreams of a future in the region's booming clothing industry.

Aluisio loves the shop and his animals. Cristina can’t wait to sell the place.

Isabel is a babysitter pregnant of her own child and can't wait to be a mother. Until she meets Joana.

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

Shelly, a young dancer who dreams of becoming a singer, and Jaqueline, an experienced singer who has had some successes and bitter the decline of her career, are partners in a brash band in a scenario that It mixes the romanticism and the sensuality of the Brazilian periphery. Inserted in the universe of show business, between nightclubs and local TV shows, they discover that everything is disposable, like success, love and other human relations. Together, they seem to form a single trajectory of life, where Shelly represents the past of Jaqueline, while this figure like the probable future of the colleague.

Dirceu, 30 years old, has origins that go back to the aristocracy of Northeast Brazilian backlands. Settled in a kind of subjective amnesia, Dirceu tries to bury his family's past. He is a demolition man in Recife, an urban landscape undergoing an uncontrolled process of transformation. Maria shares the same country origins, but she uses the city for a different purpose. She is a carefree and joyful music student. If Dirceu aspires to a world that is stable and present, Maria lives in discord with the present. To her, nothing is as it should be. Maria's apparition unleashes in Dirceu an urge for being somebody else. On a route of escape through the desert of the backlands, a unique encounter is set to happen. Boa sorte, meu amor (Good luck, sweetheart) is an anti-romance of the impact between music and silence.

Фильм открывает бесстыдная и невинная, живая, естественная как вода и воздух сцена группового секса на океанском пляже. Но это – грёза, фантазия, не имеющая прямого отношения к существованию заглавной героини, ведущей скромную и спокойную жизнь со стариком-отцом. Нет, в её жизни есть мужчина, есть секс, есть мечта – исцелять людей, и язык не повернётся назвать эту жизнь заурядной или бессмысленной...

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.

Silmara, an industrial worker and a woman of exuberant beauty, supports her arsonist father and gets involved with two different pop stars, from whom she learns traumatic life lessons.

A marginal version of Brecht’s piece, “Baal”.