Acting
In an attempt to escape from a writer’s block, acclaimed novelist Max Madureira moves to a house near a small, isolated and awkward village. It doesn’t take long for the ideas to come out, but not quite the way he expected: as the writer feels like he’s been living among stories — and not people —, he comes across the mysterious emergence of typed pages in his desk, supposedly written by the previous resident of the house. That’s enough to make Max doubt about his creativity, his sanity and even his own existence.
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In search of a new life, Anderson has left his Tikuna community in the Amazon forest for the bustling metropolis of Manaus. There he lives on the outskirts of the city with his sister and her sick child in a barren single room, and supports them through working various jobs. The environment is far from welcoming, but Anderson is driven by a burgeoning awareness of his two-spirited sexuality, which he feels can only be realized in the anonymity of the city. Anderson finds himself in limbo, questioning and rejecting certain tribal rituals, even as he fiercely defends his community and seeks to find peace with his identity.
Cris, aged 12, and her brother are left at the side of the road by their parents. The punishment quickly turns into an even greater challenge.
Greasy hair; grooved and unshaven face; emanating alcohol fumes. Raúl just doesn't care anymore. In the opening scene of Death Inhabits at Night, the unemployed writer pours himself another glass of cheap wine as an upstairs neighbour leaps to his death. His girlfriend is clearly more upset by the incident. A little later, she finds a letter by the door reminding them to pay the rent or be evicted. Raúl shrugs and suggests going back to bed. But all of this dismissiveness changes following a meeting with a troubled young girl.
The 'Vídeo nas Aldeias' performed with the Enawenê Nawê Indians, for fifteen years, extensive records of Yaõkwa, their longest ritual, in which the masters of ceremony pull, for seven months, a myriad of songs, in order to maintain the balance of the earthly world as a spiritual world. In this film, another fifteen years later, the Enawenê Nawê rediscover these images and, with them, deceased relatives, customs that have fallen into disuse and precious ritual songs.
A tragedy occurs during a performance by an artistic troupe. And this episode redefines the lives of two sisters. Both live with the ghosts of what happened while a shepherd tries to expand his flock.
171 - It fools me that I like. It is a documentary about short stories and storytellers with almost hypnotic gifts to involve the listeners, the peculiar figure of the "171" (Brazilian embezzlement criminals), who can be as much a criminal swindler as a guy with good speech
A thug love. A ruthless passion. A devastating fire. Thus began the saga of death and revenge by the one they called Soledad.
Bené spent many years looking for his spiritual evolution in a small country town. He has made great progress and is fully integrated into the community, but will be put to the test when he meets Letícia and is brought into the underworld of the big city.
Man and Woman are reunited after a long time. Sorrow and desire cannot break the silence. But that's okay: when words don't come, it's the body that speaks.
A photographer travels to São Paulo for his first solo exhibition and decides to stay in his now married, ex-girlfriend’s house.
World Cup, garden, ritual. In the midst of an intense - and common - day in the village of the indigenous people Enawenê-Nawê, in Mato Grosso, Kularenê tells us how, when they left the same stone, Indians and whites took different paths: the first guided by Wadari, his ancestor, and the others by Lareokotô, grandfather of whites and father of technology.
