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Um Oitenta e Seis Avos

(Talita Feuser), suffocated in her monotonous routine - sleeps, wakes up, works and, sometimes, helps her mother Amelia (Debora Duarte), shaken by the recent death of her bitch, with daily chores. A strange diagnosis causes Women to confront their own passivity: their organs are disappearing. The medical interest in the subject frightens the patient, who escapes any kind of treatment. The revelation, however, coincides with the arrival of a mysterious new neighbor (Luiza Lamoglia) to the building of Woman. The two give up the tide, cultivating a mutual curiosity and an eventual intimacy; recognition. Woman is torn between her mother and the new inhabitant.

Um Oitenta e Seis Avos

4.5 2019
Terminal Station

Catarina decides to leave São Luís to start a new life. While buying stuff for her farewell party, she meets Francisco, with whom she'd had a relationship, which was interrupted at its peak when he disappeared a few years earlier. Francisco's explanations hide the real reason for his disappearance. During the party, Catherine tries to get over this situation by getting really drunk. The next day she can barely walk, but needs to go out on a date with her true destiny.​

Terminal Station

5.3 2019
Mãtãnãg, a Encantada

The indigenous woman Mãtãnãg follows the spirit of her husband, dead bitten by a snake, to the village of the dead. Together they overcome the obstacles that separate the earthly world from the spiritual world. Once in the land of the spirits, things are different: other ways govern the supernatural. But Mãtãnãg is not dead, and his soul must return to living with the living. Back in his village and reunited with his relatives, new vicissitudes during a ritual will provide the opportunity for them to once again be alive and dead. Mãtãnãg is based on a traditional history of the Maxakali people. The illustrations for the film were made in a workshop in Aldeia Verde, in the municipality of Ladainha (Minas Gerais).

Mãtãnãg, a Encantada

NR 2019