Editing
Ophelia is a 20-year-old girl who lives with her mother and grew up without a father. She suspects that he is Tedesco, a German artist who has just returned to Brazil. Determined to find him, she sends a letter notifying him of her arrival and that she will swim to him from the Santos bridge. Upon learning of the imminent arrival, Tedesco asks Smutter, his great friend, to start following her closely.
Interwoven with Shakespearean storylines, the miniseries depicts the daily life of a theater troupe from São Paulo, exploring the dilemmas and situations artists face both on and off stage.
In the arid Brazilian hinterland, girls play poised between their mothers’ difficult pasts and fantastic dreams for the future. In a place where men are still seen as giants compared to women, the girls cross the threshold from childhood into adolescence.
Cosmo is a taxi driver who loves traveling around São Paulo. One day, when he meets Mauro in a bar, he receives an unusual proposal: to record testimonials from passengers in his taxi, in which people would talk about what they like in São Paulo.
After surviving the massacre in which the police killed ten landless workers in Pará’s Amazon region, Fernando dos Santos becomes the only survivor to reveal his identity and testify. Still shaken, he recounts how the police murdered his boyfriend and tortured his companions, yet the film portrays him as far more than a victim: a courageous man who left the city’s comfort to chase the dream of owning land, using humor and intelligence to endure the solitude of being a gay man in rural Brazil. Alongside him is José Vargas, an idealistic lawyer defending the survivors and their right to justice. As he faces threats and isolation, the film exposes the human cost of truth, resilience, and the struggle for dignity in a land scarred by violence and inequality.
While out with his friends for fun one night in São Paulo, Leandro is confronted with glimpses of his own violence. The film is loosely inspired by the homophobic attack that occurred in the Paulista Avenue area, in which teenagers used fluorescent lamps as a weapon.
Joana has the same dream as all young Brazilian girls in the 80s: she wants to be a Paquita, a dancer on Xuxa's TV show. Her family is wealthy, and will support her. However, there is a problem; she is black and Xuxa never had a black Paquita on her team.
Teodora discovers that her husband was having a virtual relationship and enters a crisis, which results in the loss of her job as a presenter of a culinary program. Disillusioned, she decides to hit the road and sets out on a journey of self-discovery, walking the Way of Santiago de Compostela, in Spain.
After documenting her pregnancy, director Eliza Capai talks with other women who have had similar experiences, creating a powerful and touching choir of voices that reverberates on universal themes: life, death, mourning and public policies that affect us all.
