Patrícia Ferreira

The Land Without Evil is the mythology that guides the Guaraní communities. It narrates the search for a lost paradise. From the moment that Europeans crossed the Atlantic, it became the anima of a resistance discourse. How many different weapons does it take for a fight? The solo exhibition of Patrícia Ferreira Pará Yxapy, one of the most engaged women among Brazil’s Indigenous filmmakers combines new works and the archive behind her audiovisual journey over the past 15 years, always in close collaboration with the Mbyá-Guarani Cinema Collective. It presents Indigenous cinematic practice as a tool of resistance and healing showcasing intimate and painful thoughts on the feminine, on spirituality, colonization, and the relationship to land.

The Land Without Evil is the mythology that guides the Guaraní communities. It narrates the search for a lost paradise. From the moment that Europeans crossed the Atlantic, it became the anima of a resistance discourse. How many different weapons does it take for a fight? The solo exhibition of Patrícia Ferreira Pará Yxapy, one of the most engaged women among Brazil’s Indigenous filmmakers combines new works and the archive behind her audiovisual journey over the past 15 years, always in close collaboration with the Mbyá-Guarani Cinema Collective. It presents Indigenous cinematic practice as a tool of resistance and healing showcasing intimate and painful thoughts on the feminine, on spirituality, colonization, and the relationship to land.

The Land Without Evil is the mythology that guides the Guaraní communities. It narrates the search for a lost paradise. From the moment that Europeans crossed the Atlantic, it became the anima of a resistance discourse. How many different weapons does it take for a fight? The solo exhibition of Patrícia Ferreira Pará Yxapy, one of the most engaged women among Brazil’s Indigenous filmmakers combines new works and the archive behind her audiovisual journey over the past 15 years, always in close collaboration with the Mbyá-Guarani Cinema Collective. It presents Indigenous cinematic practice as a tool of resistance and healing showcasing intimate and painful thoughts on the feminine, on spirituality, colonization, and the relationship to land.

An intimate meeting between two women filming each other. An exploration of the relationship of two artists: an indigenous filmmaker and a non-indigenous visual artist and anthropologist.

An intimate meeting between two women filming each other. An exploration of the relationship of two artists: an indigenous filmmaker and a non-indigenous visual artist and anthropologist.

An intimate meeting between two women filming each other. An exploration of the relationship of two artists: an indigenous filmmaker and a non-indigenous visual artist and anthropologist.

An intimate meeting between two women filming each other. An exploration of the relationship of two artists: an indigenous filmmaker and a non-indigenous visual artist and anthropologist.

In the village of Koenju, in Rio Grande do Sul, young Mario and his "gang" make fun of the challenges of today's Mbya-Guarani reality.

An immersion in spirituality and everyday life of the Mbya-Guarani from the Koenju village in Southern Brazil.

As Ariel Ortega thinks about the history of contact of the Mbya-Guarani, he tries to understand how his people got expelled from their land.

As Ariel Ortega thinks about the history of contact of the Mbya-Guarani, he tries to understand how his people got expelled from their land.

Paloma is a young psychiatrist, who is hired to work as a director of a clinic in Galicia, and is attracted to Mario, her very first patient. He suffers from a rare form of amnesia, commonly known as Korsakov's syndrome. As a result, both his short and long term memories are affected, and he has temporary lapses of perception. However, Paloma finds Mario to be a fascinating individual, not just a regular patient. Intrigued, she decides to explore Mario's past and, through their dialogues, their relationship takes an unexpected turn.

Young leadership and audiovisual director, Patrícia Ferreira has been recognized for the documentaries she makes with her people, the Guarani Mbya. When asked to discuss her work at one of the largest ethnographic film festivals in the world, the Margaret Mead Film Festival, held at the American Museum of Natural History in New York, Patrícia is faced with a series of exhibitions, debates and attitudes that the they make us reflect on the world of “juruá”, contrasting it with the Guarani modes of existence.