Luciana Baseggio

Picucha may seem old-fashioned, but she has modern ideas and a great sense of humor. At 85 years old, she pushes the limits of her age and does everything she can for her family and friends. Sweet Mother illustrates the everyday life of the elderly with clarity and levity, and shows that youth actually starts at 80. In the role that earned her the 2013 International Emmy® Awards for Best Actress, Fernanda Montenegro adds another success to her list of characters, which includes an Oscar nomination for the film Central Station.

An actor and a politician start a secret affair and together discover their fetish for having sex in public places. The closer they get to their dream of fame, the more they feel the urge to put themselves at risk.

Gugu, a black boy living with his grandmother, experiences memories and revelations when the old city where she lived returns.

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On the border between the real and the fantastic, between the colonial past and the overwhelming modernity of agribusiness, the city of Goiás is the scene of the meeting between the young Fernanda and her secret roots. She returns to the home of her wealthy uncle, after the death of her adoptive mother, in order to implode the certainties and to reveal the painful truth about its origin.

After 15 years of living abroad, Amanda returns home with her French boyfriend, Martin. They arrive at her family's large-scale farm, located in a secluded village on the endless plains of southern Brazil. There, Amanda finds her father in a coma in the midst of increasing tension among the workers. The sole doctor in the nearby village is Helô, a young woman who resigns herself to caring for the local townspeople. The imminent death of the farm owner will put Amanda, Martin, and Helô at the heart of a disturbing settlement between the village and the farm owners.

Picucha may seem old-fashioned, but she has modern ideas and a great sense of humor. As the matriarch of a big family, she is involved in the daily lives of her children, grandchildren and other relatives. Undeterred by the typical problems of old age, she uses her many years of experience to solve problems in the best way possible.

Santiago, Amsterdam, Berlin, Cologne, Paris, London, Porto Alegre, Sao Paulo. The cities that witnessed the brief life of the poet, playwright and writer Caio Fernando Abreu (1948-1996) are now revisited and covered with fragments of his works and memories of his friends, such as Maria Adelaide Amaral, Grace Gianoukas and Adriana Calcanhoto.

Guilherme feels attracted to his best friend, but is afraid to tell him that. Through the internet, he discovers a way to fulfill his desire.

A young Brazilian, who has just started working in a huge forest in Berlin, is dragged into a nightmare involving the German colonial past when he tries to find a girl lost in the woods.

A woman waits.

Stemming from the triple border territory between Paraguay, Argentina, and Brazil, Fran Rebelatto’s first feature film follows the women known as Pasajeras (Passengers) and their daily passages across these frontiers. Grounded on equally borderline procedures between documentary, the domain of fiction, and indigenous mythologies, the film records the everyday fluctuations of these lives traversed by a landscape constantly in motion, building female narratives of sacrifice and resistance.

Camel on the Tarmac is made of two movements: the walking and the feeling. Walking under the sky of platinum winter; and on the asphalt. Feeling under the silence of the journey; relive the emotional memories. Peter walks and feel; walks and crosses the border between sister countries, Brazil and Uruguay. Follows in search of man who, like him, live recluse addition in their own digressions: his father.

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A short film that brings together four music videos created between Japan and Europe in 2019.

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This short documentary captures the history and the current state of decay of the Cine Brasília: a movie theater founded in 1955 that became an important cultural fixture in the town of Carazinho, Brazil. In the 2010s, it turned into one of the last independent movie theaters in the brazilian south due to its steadfast owner, who refused to let his family business die out.