Directing
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Every day Benjamin drives his car through the city streets and intersections.
A terrified young woman is staring at a disturbing monstrosity, a kind of Pagan spirit that has sprung out of a river. Such is the opening scene of Pajeú, named after the creature, a fantastic character which follows the meanderings of the river and drives the story. Eager to get rid of a nightmare that is infecting her life, Maristela is looking into the story of Pajeú, the now forgotten figure buried in the depths of the city of Fortaleza. The film goes through successive urban transformations leading to the burying of Pajeú, a mystery imbued with supernatural elements.
It's the Silva family's first Christmas after Dona Zelina's death. Bel keeps the tradition alive but clashes with her sister as tensions rise. Amid fights and gossip, Luciano plans to reveal he's marrying a woman no one in the family met.
Madalena is a film producer having to deal with the recent death of her father, her 8-month pregnancy and the production of a B-sci-fi film where everything seems to go wrong.
No man is a failure when he has friends.
In Fortaleza, Brazil, loving, drinking and singing. The return home, braving stray dogs. And taking photos, up to the moment the plastic camera bought in 2013 gives up the ghost.
Erik Satie’s work is at the heart of modern music. However, who was Satie? An elusive genius or a visionary misanthrope? The film tries to sketch an identikit of the musician through his notes and the places he lived in. Musicologists mostly agree in describing Satie’s music as inhabited by voids and holes. The long pauses between one musical passage and the other are musical structures unto themselves; therefore, the filmmakers create a dissonant Satie-like universe in which empty spaces are adjacent to eloquent passages. Like a mysterious flower visible only to the eye that is willing to dance with its charm, the film unfolds little by little through mental associations and creative juxtapositions. There are no answers in the universe inhabited by the ghosts of Satie’s creations. Architectural forms and recollections from desires and acts of creative hubris compete to create a new world, which ultimately is the image of a new and more seductive pleasure principle.
After being abandoned by the man she loves, Amianto isolates herself in a world of fantasy and delusions. Her only friend is Blanche, a dead girl who protects her from beyond. Mixing naivety and melancholy, Amianto tries to reconnect with the real world.
He never knew how to leave and she never learned to ignore him. The reunion in three small parts.
Otavio and Gilda are a very wealthy couple of the Brazilian elite who have the habit of eating their employees. Otavio owns a private security company and is a notable member of The Cannibal Club. When Gilda accidentally discovers a secret from Borges, a powerful congressman and the Club’s leader, her and her husband’s lives are in grave danger.
Deusimar is the owner of Inferninho, a dark and run-down bar that is a refuge for dreams and fantasies. Her dream is to leave everything behind and go away to any distant land, as far as possible from that place. Falling in love with Jarbas, the handsome sailor that arrives at the bar, dreaming of finding home, will completely change her life and the lives of the bar employees: Luizianne, the singer; Rabbit, the waiter; and Caixa-Preta, the cleaning lady.
Paris - an American who recently arrived in Brazil - and the Brazilian Thais begin a simple friendship sharing feelings and sensations, even if they do not understand a single word each othar says.
Lud experiences an intense love affair with her boyfriend Afonso.
Renan says goodbye to Elena and Veronica and leaves for a new great love. However, when he realizes that he is being eaten alive, he decides to run away, counting on his friends to save him from the curse that haunts him.
An omen, a shred of time only. Suddenly the huge-bellied man jumps into the pool holding a glass of whiskey.
A German teacher and the translation of a poem.
