Zé Adão Barbosa

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It portrays the work of Carlos Filho, Cafi, a photographer from Recife, who for more than 40 years has dedicated himself to recording a large part of the events of dance, theater and Brazilian popular music. Recordings, concerts, tours and rehearsals by important artists passed through Cafi's lens.

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Pedro earns a living in chat rooms. He transforms himself into NeonBoy in front of the webcam. Slowly, this young man dips his fingers into pots of coloured paint and glides them across his naked body. But things change when Pedro notices that somebody is imitating his performances. He agrees to go on a date with his mysterious rival. This rendezvous will have far-reaching consequences.

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A film director faces a complex situation in the production of his new film: Laerte, the protagonist of the story, begins to renegade her former characters, the Pirates of the Tietê. Lost in this situation and determined to be faithful to his whims after seeing the approach of death, the director decides to tell his drama mixing his persona with the story, creating a chaotic labyrinth between fiction and real life.

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During the Rio Grande do Sul revolution of 1923, two brothers fight on opposite sides.

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Joao is a 50 year old actor who lives with his 72 year old mother, Celina. He spends his time between his work at night as a crossdresser in small gay bars and his parts in small plays, movies and TV shows. Tormented and haunted by ghosts from his past, day after day Joao starts to merge the reality in which he lived with the fiction he is interpreting.

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Written in 1625 by the British playwright Ben Jonson, the play “The Staple of News” provides a historic root for this discussion about the role of the press in modern day Brazil. Journalists of several generations discuss the dilemmas of the selection and focus of their subjects, the resistance of the media in accepting itself as a political agent, the inevitability of interpretation as there are no hard facts in nature, and above all the search for an always complex balance between credibility and the public’s growing demand for news.

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Zizo, a radical and anarchist poet living in a marginal quarter of Recife in the north eastern state of Pernambuco, distributes his social angst-filled thoughts through a publication named Febre do Rato, and spews poetry to anyone who’d listen. Our character always revolves within the universe that he has created around himself. A very particular world, in which satisfying the unfortunate is a mixture of a kind of benefit with high dose of malice.

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Ricardo is 10 years old, lives in the interior of Rio Grande do Sul and has nightmares about Velho do Saco, sort of a Brazilian bogeyman, “who takes out the eyes of misbehaving children”. It is not easy to distinguish truths and lies when the loss of innocence is confused with the loss of sight.

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One room, one man, common everyday actions. But what is happening here? Can someone explain it to me?… Continuity.

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In a morgue, the corpse of a young man that suddenly died on the streets probably due to a heart attack will be examined by the coroner Elizabeth (Letícia Spiller). She questions with her colleague the death of a person so young and handsome, but the brain of the dead man somehow is working and he falls in love for her. Meanwhile, a deranged man invades the morgue and threatens Elizabeth with a gun, with the witness of the dead man, who is immobilized (since he is dead) and unable to help her.

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Four directors tell stories related to the concept of happiness.

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Mockumentary on a German moviemaker and an old vampire film in Southern Brazil.

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Thirty-eight years after the 1950 World Cup, a man went back in time to prevent the goal that defeated Brazil, destroyed his childhood dreams and ended goalkeeper Barbosa's career.

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A typical criminal. A typical taxi driver. A typical route through the night of Porto Alegre, from the bus station to a deserted street. But at the time of the crime, the driver doesn’t react as he should. Meanwhile, on TV, Brazilian Minister of Justice make a speech against violence.

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