Acting
After three years locked up for a crime he didn’t commit, former police officer André Câmara is back on the streets working as a bounty hunter and determined to prove his innocence. Gripping, south American sizzler charting the action from the mean streets of Brazil to the bedrooms of the law enforcers.
A case of the munchies leads a young pothead to make a deal with the devil.
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40-year-old Daniel has been suspended from active police work and is under internal investigation for violence. When Sara, his internet love affair, stops answering his texts he decides to drive north in search of her, starting on what is apparently a fool's errand. He shows Sara's picture around, but nobody seems to recognize the woman. Until eventually one guy pops up, saying he can put the two in touch under very specific conditions.
1970. Beatriz is an 18-year-old student. She is detained by the military dictatorship in Curitiba, Brazil, and tortured for ten days accused of belonging to the subversive student movement and an armed guerrilla that fights against the regime, VAR-Palmares.
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.
Boris, a young gamer, is sent to spend a few days in the countryside of Paraná with his grandfather Stanislau, the leader of a Ukrainian community. Their meeting reveals a clash between the digital world and tradition, giving rise to a transformative relationship about family, belonging, and true connection.
Her mother’s distance, her father’s absence, and the traumas provoked by her stepfather form an ocean inside the girl Muriel, who is afraid of swimming. The animation, directed by Carol Sakura and Walkir Fernandes, poetically approaches through verbal and visual metaphors the experience of plunging into one's own pains so as to finally emerge.
It opens, in the life of Fernanda, a possibility of reconstruction of its own image. And this happens from an offer of employment that reactivates in her all the relationship of affection that had been built with her mother during her childhood. But Fernanda, who is always in need of negotiating her identity with the outside world, will go through yet another test.
