Rafael Saar

ABYSSAL FISH is a creative film in the border between fiction, real and performance through the artistic work of Luís Capucho. A singular artist who survived the time when the HIV represented the death stigma. Building an amazing work of poetic power post­disease, Capucho surpasses the physical sequels that have left him mute and without part of his body movements for a while, until the current partial recovery.

ABYSSAL FISH is a creative film in the border between fiction, real and performance through the artistic work of Luís Capucho. A singular artist who survived the time when the HIV represented the death stigma. Building an amazing work of poetic power post­disease, Capucho surpasses the physical sequels that have left him mute and without part of his body movements for a while, until the current partial recovery.

ABYSSAL FISH is a creative film in the border between fiction, real and performance through the artistic work of Luís Capucho. A singular artist who survived the time when the HIV represented the death stigma. Building an amazing work of poetic power post­disease, Capucho surpasses the physical sequels that have left him mute and without part of his body movements for a while, until the current partial recovery.

ABYSSAL FISH is a creative film in the border between fiction, real and performance through the artistic work of Luís Capucho. A singular artist who survived the time when the HIV represented the death stigma. Building an amazing work of poetic power post­disease, Capucho surpasses the physical sequels that have left him mute and without part of his body movements for a while, until the current partial recovery.

Those who never believed are killed That this life is just a passage, A dark shortcut, a landscape Where our senses landed.

The lives of Luhli and Lucina, two especially important artists in the alternative cultural scene during the 1970s. In a time when transgression, love and peace guided behavior, we discover the love of two women for art, their spiritual universe, their lives in community and their three-way relationship with photographer Luiz Fernando Borges da Fonseca.

The lives of Luhli and Lucina, two especially important artists in the alternative cultural scene during the 1970s. In a time when transgression, love and peace guided behavior, we discover the love of two women for art, their spiritual universe, their lives in community and their three-way relationship with photographer Luiz Fernando Borges da Fonseca.

The lives of Luhli and Lucina, two especially important artists in the alternative cultural scene during the 1970s. In a time when transgression, love and peace guided behavior, we discover the love of two women for art, their spiritual universe, their lives in community and their three-way relationship with photographer Luiz Fernando Borges da Fonseca.

In 1930, the Brazilian filmmaker and poet Mario Peixoto produced a masterpiece of Brazilian film history, the two hour long silent film Limite, inspired by European expressionist and avant-garde cinema. In 2014, Joel Pizzini paid homage to the film, and in particular its filmmaker, by creating a film montage using images from Limite and additional documentary material of interviews from the 1970s and 1980s. Mario Peixoto never finished another film, even though he continued to work on diverse projects. Mar de Fogo also features a freely imagined new sequence for Peixoto’s next, but never completed film as envisaged by Joel Pizzini. He tries to invoke Peixoto’s vision while making Limite and to visually explore the feeling he had when he had the inspiration for the film.

“Naked Eye” is a film-documentary of long-length of the artistic and existential universe of the singer Ney Matogrosso, which proposes to recreate through archive’s images in counterpoint with the current production of the artist, thirty-five years of career marked for inventive and transgressing spectacles, always symphonize with its time. Through a coherent boarding with its intransigent trajectory, the film intends to translate the language musical-corporal of Ney Matogrosso, trying audiovisuals resources that express signs evoked poetical politicians and in the repertoire of the singer. A film-song that that looks for to, ultimately, embody the voices of an artist who searches for a nation.

The vertigos in the urban landscape take the Bird-Man back to his origins, in a metaphor about life cycles. "Bird-Man" is a film from the poetic nature of Brazilian singer, Ney Matogrosso. During the 1970s dictatorship, he broke sexual taboos with a "strange" behavior on stage and became one of the most famous brazilian singers. Inspired in Cassiano Ricardo's concrete poems and the experimental music of Ney's repertoire, "Bird-Man" explores a sound and visual lyrical aesthetic of high contrasts that approximates man to nature's feelings.

The vertigos in the urban landscape take the Bird-Man back to his origins, in a metaphor about life cycles. "Bird-Man" is a film from the poetic nature of Brazilian singer, Ney Matogrosso. During the 1970s dictatorship, he broke sexual taboos with a "strange" behavior on stage and became one of the most famous brazilian singers. Inspired in Cassiano Ricardo's concrete poems and the experimental music of Ney's repertoire, "Bird-Man" explores a sound and visual lyrical aesthetic of high contrasts that approximates man to nature's feelings.

After farewell, the waiting. After the waiting, the return. After everything, all they wish for is to be together and one day is enough for them to wait for the next one.

After farewell, the waiting. After the waiting, the return. After everything, all they wish for is to be together and one day is enough for them to wait for the next one.