Safira Moreira

Returning early from his vacation after the Carnival period to investigate the murder of a young French tourist, Breno Wanderley is faced with possible reflections of his own history from which he cannot escape. Between Ash Wednesday and post-Carnival Sunday, Breno tries to unravel the crime and sees in his son, also called Breno, a chance to reinvent himself in a broken and sullen city.​

Jaiane now lives in Brazil, while Aissa, a Mozambican sailor who has just arrived in the city, tries to have a real experience on dry land. A story of unconventional passion follows.

The story of a photograph: A single mother, an absent father and a child.

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Without sponsorship, Olympic medalist Adriana Araújo dreams of the world title.

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Utilizing a poetic language, Travessias born from the search of photographic memory of black families and it takes a critical and affirmative position in the face of the almost complete absence and stigmatization of the representation of black people.

The camera docks on land and follows Safira, along with her child, as they head toward the community. The hands, the work, and the small gestures of the people gradually lead us through rivers of birth, memory, life, and death. After the passing of her mother Angélica, the director searches for her in other landscapes, through cities flowing along the Paraguaçu River in Bahia and the Alegre River in Maranhão, in her first feature film. This winding journey crosses generations, time, and knowledge with the rhythm, enchantment, and generosity that Moreira had already demonstrated in her short films.

A river and its affluents.

Ayo is an artist who lives alone submerged in her own sea and begins to question her identity when, through self-portraits, she realizes that she does not see herself as she really is. From then on, she begins to disentangle herself from the process. of social whitening and struggles with herself to claim her blackness.