Isadora Neves Marques

Mirene and André are a heterosexual couple struggling with infertility issues. Carl and Vicente are a homosexual couple undergoing an experimental procedure in order to have a biological child.

A story of a polyamorous, non-binary relationship struggling to survive an epidemic of genetically modified killer mosquitos.

The film offers a glimpse into the life of five vampires as they travel through space, carrying life to a faraway Earth-like planet. After all, in space it is always night and, having eternity at their disposal, vampires are the ideal candidates to roam the stars. In their solitude, away from societal constraints and expectations, this family of vampires recalls and reimagines their past lives, guiding the visitor through an open-ended narrative about the role of fiction in our lives, and in particular in lives marked by gender dysphoria or transgender experiences. (João Mourão & Luís Silva)

Lourdes and Lana met telepathically using “sensory pills”, a technology that allows access to other people’s sensations from a distance. After months of relationship, Lourdes decides to visit the country house of her parents, Vicente and Carl, and introduce them to her girlfriend.

Aimed at generating a revolution in perceptual habits, Semente Exterminadora approaches Indigenous knowledge as a radical means of reconceiving the relationship between humans and their environment in the twenty-first century.

Shot in inner Rio Grande do Sul, Brazil, in a landscape transformed by the monoculture agriculture of mostly transgenic soy, maize, and sugar cane, the film follows the process of transforming soy crops into biodiesel, from the moment of harvest to the workflow of one of the main biodiesel processing factories in the region. A series of notes and reflections taken by the author are overlaid on the moving images. They ask: What kind of life lies in transgenic seeds? And what does it mean to live with the enemy?

Engaging in strategies of worldbuilding, YWY, Visions combines sci-fi elements with Amerindian cosmologies to contest a linear claim on the future, offering instead a clash of many worlds and visions in between Indigenous and white perspectives. In doing so, it explores how artistic expressions might both acknowledge historical legacies and present visions of futures beyond dystopia.

The Ovary is a short film narrating the attempts of a gay couple to reproduce biologically through an ovarian implant in a cis man. Imbued with an intimate and sensorial relation to images and accompanied by a cover of Lana Del Rey's pop song "Let me love you like a woman," The Ovary is a raw and haunting approach to the online fan fiction genre Mpreg (a term short for male pregnancy) and its tense, but also visionary, relation with surrogacy, privilege, and homonormativity. Together with the short film Meat is Not Murder, the film falls under the rubric of what I call Medieval Bodies, a set of films echoing contemporary issues surrounding queer reproduction and gestation, fears of artificiality in biotech, and the fluidity between human and nonhuman bodies.

Set in a present-future, YWY, an indigenous android, talks with a GMO corn crop in the agricultural interior of Brazil. In a moment of intimacy, the woman, whom we come to understand is a field worker, and the plants talk about bodily rights, infertility, labor, and monocrops. As a human, the spectator is unable to hear the voice of the corn plants, perceiving the dialogue as a weird monologue. The film’s script is inspired by the writing of Brazilian author João Guimarães Rosa, in which dialogues are often expressed through the voice of a single person rather than two or more.

Today it is impossible to imagine the world and our understanding of sexuality and gender without psychoanalysis. But what if Sigmund Freud had died before its invention? Inspired by time-travel stories, The Early Death of Sigmund Freud imagines the possibility of sending nanobots back in time to implant a brain disease in Freud before he invented psychoanalysis. While the nanobots go about their business inside Freud’s skull, we watch a list of key moments in Freud’s life and when best to kill him.

The film presents a speculative exercise about the relation between ecological theories and sociologic, economic and management models. Such reflections are intercalated with tales about the ritual of anthropophagy in Brazil in the early 16th century, whose imaginary defines the film's visuals, be it microfilms of books and etchings, or museological and graphic material on Amerindian socio-cosmologies.

Meat is Not Murder is a short film narrating the dilemma faced by an animal rights advocate and hardcore vegan when confronted with the possibility of eating cellular-grown lab-made meat. Both funny and gruesome, the film is imbued with an intimate and sensorial relation to images and music, creating an emotional narrative about the making of bodies, whether human or not, in science and preconceptions surrounding what is deemed natural and unnatural. Together with the short film The Ovary, the film falls under the rubric of what I call Medieval Bodies, a set of films echoing contemporary issues surrounding queer reproduction and gestation, fears of artificiality in biotech, and the fluidity between human and nonhuman bodies.