Rodrigo Carvalho

Miguel is a federal agent, highly trained and skilled in weapons. After experiencing trauma in his personal life, he sets out on a journey of revenge, assuming the identity of a masked vigilante. The Awakener decides to do justice with his own hands by exterminating corrupt politicians.

In the north of medieval Portugal, the beautiful Ana falls in love with Thomas, a poor artisan. Her father immediately forbids their union, demanding that his daughter’s suitors produce a jewel as proof of their nobility. But the young couple refuse to give up. With the help of their faithful companions, the generosity of the townswomen and the talent of a mysterious jewellery maker, Ana and Thomas will face many challenges out of love, including the powerful and evil Duke of Aragon.

With executive production by Fernando Meirelles and direction by Fred Luz, actors Alexandre Rodrigues and Edson Oliveira are Buscapé and Barbantinho, two friends who meet again in today's City of God: bigger, more diverse and connected.

Fernanda is married to Tom, with whom she has a five-year-old daughter, Joana. The couple is in the midst of wear and tear caused by living together for many years, which generates constant friction. Who helps Fernanda to overcome the crisis is her partner Aníbal, inseparable partner during the arduous journey between saving the marriage or putting an end to it.

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Western book writer, Eugenio is going through a difficult phase. He is famous for the novels starring the Jesus Kid, but his sales have been going from bad to worse for some time. The light at the end of the tunnel seems to be a film director's invitation: he wants Eugenio to write a film script. However, to write this script, Eugênio must spend three months isolated in a luxury hotel, without being able to go out or have contact with the world he knows. Based on this premise, Mutarelli builds a scathing critique of the publishing market and the film market — where he has been circulating for years. Bringing to Eugênio much of his own personality, the author shows how the commercial part of culture can be perverse to those who work in it.

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Meetings between Bahian artists from different generations and their creative processes of reinterpreting classic Bahian compositions.

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