Wellington Abreu

O Pastor e o Guerrilheiro is a Brazilian feature film inspired by a true story, which takes place in the 1960s and 1970s and at the turn of the millennium - in the last days of 1999.

A history of vendetta and redemption occurs in the vicinity of a road, when the trajectory of a young policeman from the Capital intersects with a sergeant.

Strong and feminine, "Why don't you cry?" addresses the delicate topic of suicide. Jessica is very closed, Barbara is a time bomb. The two meet when, at the stage of the faculty of psychology, Jessica meets Barbara. The coexistence leads Jessica to question her empty and meaningless life.

Amador is a retired and ostracized gunman. Alone and bitter, he collects newspaper clippings of his old crimes in an album. After several humiliations, he will react with violence to the world’s hostility that surrounds him while also trying to get back to action.

A homeless man struggles to get by in the utopian city of Brasília.

A filmmaker is producing a documentary on personality disorders. He follows three people with some crisis or emotional instability, whom all have difficulties on maintaining personal relationships.

No description available.

Mother and daughter discover a miraculous cure for their illness, but the price to pay involves sinister human sacrifices...

The struggle of a small group of blacksmiths trapped between keeping a long going strike with claims for better fees and the necessity of getting back to work when there's no money left for basic necessities.

No description available.

Laura, a “young woman” of 126 years old, is the newly hired at Notary of Souls. In her new role, she records the motivations of those who renounced eternity. However, by contract, Laura herself cannot interrupt her tedious existence.

A young architect embarks on an ambitious real state development project in Brasília, convinced that he could actually help transform people’s lives and build a new form of society. But his utopia begins to fall apart when his dreams get in the way of corporate corruption and personal interests.

A court order obliges the masked persons of the Festa do Divino to leave with an identification number. Not satisfied, a group of them tries to invade the city hall.

In 1959, disgraced intergalactic agent WA4 receives a mission: to come to the Earth and kill the president Juscelino Kubitschek on the day of Brasília's inauguration. But his ship is lost in time and lands in 2016 in Ceilândia — a Black suburb of Brasilia — on the verge of Dilma Rousseff's impeachment.

In a psychiatric clinic, Nina begins a journey into her own unconscious, a quest to find a path to shared reality.

The city of Brasilia hoped to become, from its very architecture, the expression of modern urban conception and an egalitarian society. However, neither the workers hired to pursue this project, nor the constant migratory flow that took place from the beginning, fitted in the government’s plan. In 1971, it began what was known as the “Campaign to Eradicate Invaders”. Together with other locals, the director reflects on the history, the transformations and the future of this place where the hypocritical official jingle “A cidade é uma só!” is no longer heard.

Maria is a very dedicated mother who takes care of her daughter, Elza and her husband, Osvaldo, with love and affection. To do this, Maria had to give up one of her biggest dreams, which was to be a singer, and instead went to work in a building in Brasília. One day, Elza was selected to compose a musical and in this offer, Maria found the perfect chance to revive her dream in her daughter, doing everything to make the girl experience this show.

The film promotes the meeting of two characters that could be opposites: Móveis Coloniais de Acaju, a band with an unusual sound and doomed to failure, and Brasília, the country's capital planned to suceed.

Two censors from the military dictatorship watch and discuss a film at work.

Editor-in-chief of The Yesterday Gazette, Sérgio no longer separates reality from fiction. Meanwhile he tries to figure out weather he’s dreaming or just living in a crazy world, he must choose the newspaper's cover photo: a profile picture of a presidency candidate named Pig Bomb. In the midst of the fake news war, he sees himself as a representative of the Press. Little does he know that the raw material of his profession, truth, is already dead.