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A documentary team follows a horror movie crew trying to make their movie with a shot budget

WHEN SHE WAS LITTLE, KAROL (ALLANA KAROLINE) HAD A VISION: IEMANJÁ LEADS HER TO THE BOTTOM OF THE SEA AND THERE, IN HER PALACE, CROWNES HER AS THE QUEEN OF THE SEA. SEVEN YEARS PASS AND DURING THIS TIME KAROL, FROM THIS VISION ON, COMES OUT DRESSED AS IEMANJÁ TO THE FESTIVAL OF OUR LADY OF CONCEIÇÃO, AT THE TERREIRO DE MÃE ELZITA. THE DOCUMENTARY SHOWS KAROL'S LAST YEAR AS IEMANJÁ AT THE FESTIVAL.

Considerations about the room and the world.

A documentary film crew visits Lindiomar, a 72-year-old retired woman also known as Lene. This visit is described as an introductory meeting for a future documentary project whose theme and intentions are never fully explained.

Olteanca is a small rural village in Romania. Countryside's life is quiet and time seems to pass slower than usual. Even slow, time still runs, and population is now old. Young people left the village not to come back anymore.

The documentary presents the trajectory of Performance sER.á.Linha_do, from its birth in 2012 to the present. The performance is born from the continuous thread where Tamara Faifman's poetry gains life and movement when performed in bodies that open up in space for action.

The documentary reports on the social actions developed by the Brazilian government and NGOs in Haiti before the earthquake that hit the country in February 2010.

Between the arduous secular practice of manual lime extraction and the new promise of entrepreneurship offered by the textile industry, a family of Cariri (Paraíba) remains hostage to an endless working day.

Son of the cangaceiro couple Corisco and Dadá, the boy Sílvio is scared when confronted with his true origins; the boy Sílvio goes in search of his biological mother; and the man Sílvio begins a journey to give his father's remains a minimum of dignity.

The short documentary explores the history of the old, and apparently forgotten, São Pedro Hotel, a historic landmark from the golden age of Iracema Beach (Fortaleza, Brazil), through the memories of those who lived or had some connection with the building. Despite using the building as a congregating element of the different stories exposed in the film, its protagonists are the memories and stories of those who became emotionally involved with the building. These memories, as well as the ballast with the same name as the title, serve as support for the "building-ship" that is slowly sinking.

Short documentary about how five students understand the concept of home and what it means to belong somewhere.

Wherever Bumba-boi exists, there is devotion. In the Nossa Senhora Aparecida Tent it is no different, there is an Ox called Estrela, a toy of the enchanted João de Una. Located in the rural area of ​​São Luís, the terreiro has been headed for 22 years by Joseph Joan, affectionately known as Pai Joan. Among all the festivals that mark the calendar of obligations, the “Death of the Boi de João de Una” takes on a prominent role. Place where boxes, drums, radios, rattles and tambourines come together in one territory.

The documentary tells a little about Ekedji Soraia's memories and how his encounter with Candomblé and Celina Batalha, Mãe Celina D’Oxum, took place. In the short we learn about the roles she performs in Candomblé; to watch over, accompany, take care of the house's orixá, the other orixás, the children and even the visitors. The Ekedjis learn the fundamentals for the functioning of the liturgies, administration and operation of the House, in addition to the sacred functions, dedicating their time, love and work.

The potters from the Elvas community represent a collective of great importance for the rural community of Elvas, in Tiradentes/MG. The Elvas collective of ceramists demonstrates the power of collaboration and teamwork, highlighting how joining forces can result in notable achievements. Her dedication to ceramics is a testament to the value of art as a means of cultural and social enrichment, inspiring others to become involved in preserving their traditions and creative expression.

The documentary exposes the lack of LGBT representation on the Brazilian typical festa junina's tradition, but most of the people who make it are LGBT but can't be true in their show.

Rio de Janeiro. How far from the South Zone the Baixada Fluminense is found? Is it far enough for a region not know the other one? What are the (in)visible barriers that prevent an approximation? "Nunca fui, mas me disseram..." is a fun documentary that approaches, in an smart manner, the South Zone residents' view about the Baixada Fluminense. Independent and experimental, the film brings up questions about media manipulation, prejudice, the segregation between regions of the same state and auto-protection; without the pretentions of answering or clarifying something, only to argue about the stigmas' origin.