Marina Meliande

It’s Carnival in Rio. A young man wanders through the streets of the city and the remains of the huge cardboard parade floats. Driven by grief over the bankruptcy of his samba school, he’s also haunted by memories of his dead father and a lost love. An impressive cinematic experiment composed of fragments of the present and the past, developed as part cinema, part art installation in the tropical setting of Rio.

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When a renowned criminal lawyer sees one of the people she loves most become a victim of the Brazilian penitentiary system, she must decide whether to cross the line that separates her between looking for justice or committing an unforgivable crime.

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Rio de Janeiro, 2016: the city simmers in anticipation of the Olympic Games. Lawyer Ana defends the interests of residents of homes to be replaced by stadiums, roads and luxury hotels. Is the heat affecting her perception or is the struggle becoming visible on her skin?

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Joy is a fable about courage and youth. It tells the story of Luiza, 16 year old girl, who can not stand to hear about the end of the world… On a Christmas night, his cousin John is mysteriously shot in a street in the Lowlands and disappears into the night. Weeks later, while Luiza spends days alone in the apartment where he lives with his mother in Rio de Janeiro, a mysterious visitor comes knocking on your door: John, as a ghost, asking to hide there.

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Two girls star in this musical drama amazing road! A van, a beach, a reed, very homesick, girls in flower perched at gas stations… and a little music.

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They met in the summer, in the rain. A film of carnival and silence. His Name (The Clown) is a surface film – based on newspaper news and daily life in large Brazilian cities, but without any direct link to any real event. Violence, joy and silence are worked on in the film in order to build a space where characters are as real as they are intangible – in a narrative of short marked sequences, in which a whirlwind of events mixes with a stitching of fragments and gaps: He is a quiet man and divides his time between his violent work in downtown Rio de Janeiro and his boarding house in Catumbi. She is the girl who appears in his life, on a rainy afternoon – and soon things start to go by very quickly. A film of carnival and silence, of love and anger – of apathy and will. A chronicle of the conflicts and festivities of a city sewn between hills, forests and cement. A tribute to Rio, perhaps?

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Who was it that caught me inside a drop of water? Mario Quintana

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It’s Carnival in Rio. A young man wanders through the streets of the city and the remains of the huge cardboard parade floats. Driven by grief over the bankruptcy of his samba school, he’s also haunted by memories of his dead father and a lost love. An impressive cinematic experiment composed of fragments of the present and the past, developed as part cinema, part art installation in the tropical setting of Rio.

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In the wake of a dream, João Vieira Torres sets off to find the children that his grandmother Aurora, a midwife, helped deliver. Through encounters with the living and the dead, he uncovers tragic destinies which reflect a structural history of violence against women. A curse dispelled by the means of cinema, resulting in a film of exceptionally rare beauty.

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Over Rio de Janeiro looms the monstrous shadow of Mutante, a giant goddess who, at over 100 meters tall, keeps provoking the world below. While snooping through windows, she meets Mulher, a craftswoman who will transform her world.

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On the tranquil island of Paquetá, in Guanabara Bay, northwest of the city of Rio de Janeiro, someone is relaxing on the shore beside the rocks. Intimate telephone conversations contrast against news reports about the war in Ukraine, which is taking place simultaneously on a different plane.

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An homage to master Eduardo Coutinho, a Brazilian documentary filmmaker who recorded several interviews in the famous Master Building 20 years ago. Paz Encina searches for traces of Coutinho's still strong presence in the setting/object of his feature film, sewing an affectionate letter from the encounter with this space — and its current residents — and dialoguing with the voids, ghosts and memories of a film and a place.

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