César Nogueira

Vera is a religious woman who takes care of a vessel in the port of Manaus. She needs to deal with Sister Josi with whom she disagrees about how to handle the boat and how to live life.

Omar gives up going to a job interview in Manaus and decides to embark on a road trip with strangers. On a day when all sounds tedious and pragmatic, it seems to be the road the only way to Omar to seek courage and answers to one life in the city that does not satisfy him anymore.

Manaus, April 2020. Karoline is a theater actress who decides to go to a Caixa branch to request her emergency assistance. She is accompanied by her sister who is going to try to get her job back.

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Bola was always known for his peculiar laugh, and his friend, César, often shared it on social media. When a trauma caused by the pandemic makes Bola lose his laugh, it’s up to César to make him laugh again.

In this semi-autobiographical drama, filmmaker Diego Bauer plays a fictionalized version of himself confronting his past and present during a drastic weight-loss journey. As his body changes, he revisits memories of childhood, family, and social stigma, while questioning masculinity, desire, and belonging. Alongside this process, he reflects on his bisexuality and attraction to male and female bodies, exposing confusion, vulnerability, and self-acceptance. Blending fiction and confession, the film follows his attempt to reconcile who he was with who he is becoming in a society obsessed with norms and appearances.

When younger, Isabela buried a revolver in the backyard, with a promise to take revenge on her stepfather, who assaulted her mother. Years later she digs up the gun and goes in search of revenge.

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After the contact of a spirit from the forest, Pietro returns to Manaus to save her. He must prevent the city from being destroyed by a Big Snake that sleeps in the region's underground.

Friends Tamiris, Rafael and Victor go into a whirlwind of emotions resulting good times, but also regret and loss.

A couple of rubber workers from Manaus are transported from 1919, the end of the Spanish Flu in Brazil, to 2020, the height of the Covid-19 pandemic. Between quinine, British tea, street music and internet modem, the couple's adventures, under the intoxicating opium of pornochanchada, show how the country's conservative structures have been maintained since other carnivals.

In the heat of a Manaus night, the young women, Orfea (she) and Eurídice (they/she) have fun with their friends in the middle of parties and bars of the city's queer nightlife, all while they try to hide what they feel for each other.