Veronica Cavalcanti

A great love story, a family rivalry that spans generations: the telenovela narrates the love for the São Francisco River, which is revealed in the feelings between Maria Tereza and Santo.

The comic docu-drama that follows four characters who share their stories (real and imagined) about frustrated love, addressing the most diverse superstitions and rituals performed in search of success in love. To delve into the nature of the accounts, fortune tellers, pais de santo, mums-de-santo, and seers are consulted to predict futures, give advice, and explain why people are obsessed with loving and being loved.

1942, in the middle of Northeastern Brazil, two very different men meet along the road: Johan, an aspirin salesman avoiding the German draft, and Ranulpho, a rural Brazilian seeking escape from the drought.

On a hot summer day, Paloma decides to fulfill her most cherished dream: a traditional wedding in a church with her boyfriend Zé. She is a devoted mother, a hard-working farmhand in a papaya plantation and has been saving to afford the celebration. The priest’s refusal to marry her and Zé will force Paloma to confront the rural society. She suffers violence, betrayal, prejudice and injustice but nothing shakes the faith and determination of this transgender woman.

In an isolated fishing village, Esmerina is married to a fisherman and has 26 children. The oldest son secretly desires to leave to see the world beyond the sea. The daily routine of this family is suddenly altered when a mysterious boat runs aground on the beach entering Ana, a girl who survived the shipwreck.

Fifty-something Rosa, lying in an MRI scanner, is prompted to summon a happy memory. She plunges into a meandering, subconscious road trip with her indomitable mother, both queer, where wild imagination becomes a tender, unruly form of therapy.

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After committing a crime, the woman leaves her home and family in search of an unknown destination. It is not known who she is, nor the reason for the crime. The mystery about this woman is one of the key points of the narrative. Throughout history she will be called Maria, Rosa and Ana, perhaps one of them will be her real name, perhaps none. She will walk for a whole day, hugging a watermelon and will have brief encounters that will mark her day and her life, facing a world that is sometimes hostile and sometimes delicate, in an attempt to live with the love and disaffection that she brings in her. .

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Two sisters, Bethânia and Laura, reunite to discuss a family matter. They travel the roads of the Pernambuco hinterland in search of their father's body, Seu Lauro. At home, Bethânia's daughter edits a video in which the living and the dead become intertwined in a game of silences and revelations. Ao Sabor das Cinzas (Led by the Ashes) is a magical realism piece about the collapse of communication and grief conveyed in real time.

In Campina Grande, in Paraíba, a hamster named Borges lives with his owner, Napoleão (Everaldo Pontes). Blind, he is a fan of the Argentine writer Jorge Luis Borges – origin of the name of the pet – and depends on acquaintances to survive. Yara (Verônica Cavalcanti), a girl who cleans the house, Romão (Fabiano Raposo), a boy who does little service, and Vladimir (Paulo Philippe) are his helpers and plan the robbery of a rare and unpublished work by Borges, which Napoleon says save.

While a soccer team plays its games, events are experienced inside the houses. In other spaces, clay and the measure of a family's conflict.

The elderly Perpetua, feeling the approach of death, decides to prepare Zeca, her beloved grandson, to the inevitable. She tells him the story of a king and a queen, a wealthy and powerful couple who lost their only child but wishes to bring him back to life. Meanwhile, Damião e Josefa work hard to support their family and to prepare their daughter Fátima's wedding. At the end, the tale told by Perpétua and the destiny of that family will cross.

The dry quarry and a forest that still beats. A very sick father reviews the daughter. Resentments are brought to the table. The memory of the dead awakened by blood, objects, shadows and dreams affects Clarisse at this scenario of beauty and agony. Husband and business are expecting she in the city for a cathartic outcome.

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