Vera Valdez

Released in 1966 by Vinicius de Moraes and Baden Powell, the record Os Afro-Sambas is one of Brazil's most revered. Participants of the original recording, critics, friends and family of the musicians revisit the creation of this masterpiece. Filmed between Salvador and Rio, the documentary brings together archive footage and exclusive interviews with Maria Bethânia, Dori Caymmi, Russo Passapusso and Nelson Motta. A tribute to a classic that transformed Brazilian music.

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Aunt Virginia is a 70-year-old woman who has no children and has never been married, and ends up being convinced by her sisters, Vanda and Valquíria, to move to another city in order to take care of her parents. Taking place in just one day, the film follows Virginia's preparation to receive the sisters who are coming to her house to celebrate Christmas.

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Retired and facing financial problems, Sara opens a stall to make some cash and get rid of all the belongings she has accumulated throughout her life, making up stories so she doesn't have to take anything back to her lonely home.

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A film about love, also a memoir, about the trip made in the 1970s to Morocco by Jarda Ícone, an artist, sexologist, and octogenarian rocker, as she defines herself, and Lírio Terron, a human rights activist. In fact, a journey that is not over in their lives. Jarda Icon teaches classes on how women can obtain their own orgasm. With her group of disciples and friends Ana Brasil, Sheyla Fernanda, Caroline Sylvie and Lakshmi she develops self-sustainable feminist and artistic projects. The film is political, but not at all politicized in the traditional sense. It is an ode to the underground and counterculture movements, it is a hymn to freedom, and its title is also a tribute to Oswald d Andrade, one of the main names in Brazilian modernism.

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Susana leaves her life in Paris, where she works as a model, and returns to Madrid to take care of her grandmother Pilar.

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53,000 years before or after anyone. for three days the axis of the earth has stopped. The sun and moon inhabit the earth's horizon at the same time, aligned. The vibrations on the surface have reduced considerably, we are now very close to vital ground zero. Plant cells and human hemoglobin need to meet. There is only one moment for photosynthesis. The horror of the tropics gnawed at every eye. Free the condensed particle of everything.

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In six decades, Teatro Oficina has done more than revolutionize theatrical language in the country: the aesthetic influence of José Celso Martinez Corrêa's company extends from Tropicalism to the renewal of Brazilian audiovisual languages ​​from the 1960s onwards. The film revisits a story that it involves personalities such as Caetano Veloso, Glauber Rocha, Lina Bo Bardi, Chico Buarque and Zé do Caixão, brings together scenic art, ecology, architecture and sexuality, and mixes art and life in the search for a Brazilian based language.

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An environmental police officer uncovers a hidden world of mythological entities from Brazilian folklore when he finds a connection between the mysterious appearance of a dead river dolphin on a Rio de Janeiro beach and the death of his beloved wife.

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2064. Cora, a Danish woman, finds an unfinished documentary in which Benjamim, her Brazilian father, attempted - fifty years earlier - to investigate the story of his own parents: Teo, who, afflicted by insanity, died when he was still a child, and Elenir, a mysterious woman he’d barely heard of. In the course of his investigation, Benjamim discovers that both characters are part of a complex family puzzle, filled with traumas and taboos, and starts seeing himself as an important piece in the puzzle. The footage found in Benjamim’s documentary is reorganized by his daughter, Cora, in an attempt to understand her family’s lost past.

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In Brazil of yore, ex-humans feed on a fleeting drug.

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A film in which dream and reality intertwine, A Moça do Calendário tells the story of inácio, 40, married, without a permanent job. Ex-street sweeper, he works as a mechanic at Barato da Pesada, where he dreams of the calendar girl.

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While the country is under the yoke of a military junta and corrupt priests preach the apocalypse, a lawless, eccentric family – a kind of Bonnie & Clyde with kids – trek through the Brazilian interior. Their first aim is to deliver a consignment of weapons to a group of militant nuns who have withdrawn to the jungle, living off the income from their cannabis plantation. As gay , bi, trans, the converts so organized to make revolution.

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13-year-old Lucas makes a new friend in his classmate Lais, and joins her on an epic journey to find the father she has never known.

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In precise, unhurried compositions of image and sound, Lamar’s feature debut portrays a man and his dying wife, living in a remote hut in the hills of Paraguay. All the stages of mourning are passed through in a single day in this wordless account of an emotional earthquake.

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Diego is a film director who, when he is told that he has a malignant disease which could be fatal, marries his girlfriend of many years, says goodbye to his friends and begins a routine of long days of treatment in hospital. While learning to live with the pain and also conversing with death, he meets a Hindu boy who is a fellow patient and who becomes his friend. But one day the boy disappears. Diego is discharged, but his life has changed forever. His marriage fails and, living alone, he begins to wonder whether he may in fact be dying and no one has told him. He tries to find out what happened to his Hindu friend, and eventually meets another woman.

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A photographer travels to São Paulo for his first solo exhibition and decides to stay in his now married, ex-girlfriend’s house.

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Jorge, bastard child of the infamous Red Light Bandit, decides himself to pursuit a life of crime after meeting with his father, who has been incarcerated for the last 30 years.

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Interwoven with Shakespearean storylines, the miniseries depicts the daily life of a theater troupe from São Paulo, exploring the dilemmas and situations artists face both on and off stage.

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

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A group of young people is in a bar to drink, and they are trying to choose a story for the movie they are decided to make, but their characters are not very satisfied with the results of it.

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Filho is a miserable bastard. He's divided between the duty of nursing his fanatic mother and his obsessive lust for Formosa - a whore of Satan . His dilemma casts him into an abyss of violence, witchcraft, death and demonic trance.

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From 2000 to 2007, Teat(r)o Oficina Uzyna Uzona worked on the staging of Euclides da Cunha's epic book, Os Sertões, which describes the 19th Century War of Canudos in the Brazilian "sertão"(backlands). The result was the pentalogy of plays: A Terra (2002), O Homem I (2003), O Homem II (2003), A Luta I (2005), and A Luta II (2006). This first play is a carnival opera, the actors are the earth, the vegetation, the wind, the animals, the rivers, the drought. It reveals the most intimate secrets of nature, that also vibrate in the human and trans-human arteries. This work enriched by the experience that the subsequent works brought gains an updated insight into the human interference in the environment. Destructive power is proportional to financial power, and the discussion about the way space gets occupied was brought to the forefront, including the real-estate boom that surrounds today not only Teatro Oficina, but the whole world, now hotter and more arid.

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Life and death of the jesuit who fought for the peaceful relationship between colonists and the indigenous peoples of Brazil.

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European couple arrive at the Republic of Maraguaya with a strange mission. But the involvement with a local man, whom they hire as an employee, will change their plans.

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A man gets locked naked outside of his apartment.

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Divided into three episodes based on stories by Stanislaw Ponte Preta (Sérgio Porto), the film portrays three young people from Rio de Janeiro: a furious lover, a beautiful beachgoer, and a former beauty queen. All live in profound solitude amid the apparent social vibrancy of Copacabana.

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Depressed Alain Leroy leaves the clinic where he was detoxified. He meets friends, acquaintances and women, trying to find a reason to continue living.

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Upon discovering that her bedridden husband can live another ten years, 83-year-old Luzia decides to go to a comprehensive retreat for the elderly that awakens her most dormant feelings. Upon returning home, she is determined to use every means possible to rejuvenate her life, including starting an unlikely relationship with a detainee at a juvenile detention center, where she volunteers.

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