Henrique Borela

A court order obliges the masked persons of the Festa do Divino to leave with an identification number. Not satisfied, a group of them tries to invade the city hall.

The second-biggest nuclear accident in the world happened in Goiânia, capital of Goiás, Brazil. In September 1987, two scrap collectors looking through an abandoned clinic (Goiânia Radiotherapy Institute) found an old radiotherapy device. Moved by curiosity with the machine, they took it to a junkyard, where they disassembled it and extracted a capsule containing a blue powder that glowed in the dark. From that night onwards, the radiation spread unseen throughout the city, contaminating more than a hundred people, leaving deep marks and traumas. From a collage of contaminated images, radioactive ghosts emerge, embedded in the history of that place.

Glimpses and sparkles of light lead us onto the dreamy path of a timeless place, immersed within ancient nature. There, the ancestors move beyond the darkness, seeking to create another (im)possible world.

The directors take five old VHS tapes documenting the Ãwas customs back to the tribe.

The Land Without Evil is the mythology that guides the Guaraní communities. It narrates the search for a lost paradise. From the moment that Europeans crossed the Atlantic, it became the anima of a resistance discourse. How many different weapons does it take for a fight? The solo exhibition of Patrícia Ferreira Pará Yxapy, one of the most engaged women among Brazil’s Indigenous filmmakers combines new works and the archive behind her audiovisual journey over the past 15 years, always in close collaboration with the Mbyá-Guarani Cinema Collective. It presents Indigenous cinematic practice as a tool of resistance and healing showcasing intimate and painful thoughts on the feminine, on spirituality, colonization, and the relationship to land.

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Footage of the creative process of Quasar Dance Company in 2013 in Goiânia for the creation of the show "Por 7 vezes" (Seven Times). The fabrication of those Olympic bodies (the work of high-performance dancers), directed by choreographer Henrique Rodovalho, reenacted the relationship between cinema and dance. Dance, offered to the film since Loie Fuller, is sublime, Apollonian, and Dionysically sacrificed to the ghosts of the image. As a former ballerina, the filmmaker returned to the dance hall and the stage, and what was documented as a process became, in the editing, a non-knowledge.