Luís Abramo

The whole story develops from the doctor Martha, who has worked for 40 years, always at the same clinic in Rio de Janeiro. She knows Cris and realizes that she has found a successor. Then begins the friendship of the two, who try to practice their profession with the utmost ethics, despite the owner of the clinic, who is always trying to say, save.

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“Naked Eye” is a film-documentary of long-length of the artistic and existential universe of the singer Ney Matogrosso, which proposes to recreate through archive’s images in counterpoint with the current production of the artist, thirty-five years of career marked for inventive and transgressing spectacles, always symphonize with its time. Through a coherent boarding with its intransigent trajectory, the film intends to translate the language musical-corporal of Ney Matogrosso, trying audiovisuals resources that express signs evoked poetical politicians and in the repertoire of the singer. A film-song that that looks for to, ultimately, embody the voices of an artist who searches for a nation.

Based on a story by the same name by Caio Fernando Abreu, it tells the encounter of a young man and a sergeant in the 1970s.

Fifteen years after their split, a man and woman reconnect during a chance encounter and reconsider their new loves and lives.

On Alberto's birthday, his daughter Zezé gets engaged. But the party turns sour when he decides to expose his pain and regrets.

Brazil 1970. Zé walks away from his upper-middle-class life and joins the resistance against the military regime. Together with his partner Bete, he abandons public life to fight the system, while also raising two kids. Based on the life of José Carlos Novais da Mata-Machado who died under torture at the age of 27, falsely accused of betraying his companions.

While filming a TV special about dolphins in Mexico, Eliana meets a biologist who warns her of an ecological danger, since the greedy Esquivel has stolen a crystal skull from the deep waters of the ocean. That's the start of a great adventure and a romance with the dolphin trainer.

The reunion of a couple and their recollections of a broken love.

The trajectory and artistic imagery of actor and director Zbigniew Ziembinski (1908-1978), precursor of modern theater in Latin America and master of generations of Brazilian actors. The polyphonic montage builds on vast unpublished material, covering half a century of performances, teletheaters and interviews by Zimba, as he was known – before and after fleeing Poland, on the eve of the invasion of Warsaw – and recreates fragments of Wedding Dress , a play by Nelson Rodrigues which the Polish-Brazilian director won a revolutionary montage in 1943.

Tereza tries to leave her past and forge her own destiny and happiness by going through several affairs.

Serra Pelada's discovery in 1979 precipitated one of the world's largest contemporary gold rushes. In a matter of days miners could make hundreds of thousands of dollars as chunks of gold kilos in weight were found.

This is a journey of friendship, an Argentinian is going to rediscover his continent while searching for his friend from Bahia. And while the work, the records and the career of this great lady of Brazilian music are well known, the starting point, the training, the first years remained till now in a vaguely legendary and imprecise blur. Thanks to many investigations that concern as many places as times, thanks to journeys back in time through the towns and regions, the film seeks the origins of Maria Bethânia’s voice and style. Helped and led by Bethânia herself, with the assistance of Caetano Veloso and Chico Buarque, the two princes of Brazilian music, along with the complicity of the great Gilberto Gil, the author is allowed to go to the first context : the North-East. In the family home in Santo Amaro, the film finally touches the childhood of Maria Bethânia – and her brother Caetano, and this mysterious point – from which the music radiates.

Mário returned to the world of the dead. He dug his escape into the earth, with no intention of taking revenge on the powerful men who pursued him. "The Fury (2024)" starts from a fantastic premise, a poetic license, to conclude the trilogy begun by "The Guns (1964)" and "The Fall (1978)."

The film portrays the trajectory and life of the “Agudá” people today. This is a group of descendants of Africans enslaved in Brazil, who returned to their homeland with the end of slavery, and also descendants, Brazilian and Portuguese, of slave traffickers, who settled in that region of Africa in the 18th and XIX. Present in Benin and Togo, the “agudás” assimilated the surname and part of the culture of their masters.

Rebeca is a shy 13-year old girl. She has just moved with her mother to an isolated neighborhood in a small town, near Rio de Janeiro. Since someone is breaking into empty houses, Rebeca is forbidden to go out and spends her days alone, watching from above the wall the street where she lives. Until she sees Mika, a girl of her age, skating down her street. Soon Rebecca finds out that Mika is a trans girl. All this time, she’s been stealing small feminine objects from the local houses. The girls are bound together. Their worlds collide.

A TV reporter accidentally finds, in the subway's Lost and Found, a love letter addressed to a woman, written more than fifty years ago.

In Rio de Janeiro, over many days, the director Maria Ramos witnesses and films the judgment of several teenagers accused of stealing, trafficking and murdering. Underage youths are protected by the Brazilian laws and their faces can not be exposed; therefore, they are replaced by teenagers from poor communities.

It’s 1939, and the world is teetering on the edge. On the day World War Two breaks out, a group of people discuss the state of the world in a little bar on a South American beach, far away from the front. A Brazilian communist faces off against a Portuguese capitalist; an Argentinian fascist against a Trotskyist French actress. On this remote sandbank, they all defend their ideologies that have been overtaken by reality. Parallels with the contemporary rise of extremist ideologies in Brazil (and around the globe) are hard to ignore.

Sixty-six adolescents, residents of Favela da Maré, were selected to participate in a dance show led by the choreographer Ivaldo Bertazzo, which incorporated their own daily experiences. Ten years later, directors David Meyer and Helena Soldberg search for some of the participants of this experience.