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A botanical expedition in Ecuador's Amazon becomes a medium for an indigenous Huaorani community to remember the genocidal colonization it suffered in the 1960s. Meanwhile, a group of ecologists from the capital tries to stop oil exploitation in the last remaining forests where the isolated Huaoranis still live, who to this day refuse to come into contact with civilization.
In Negros Laços, an ancestral narrator revisits her memories to bring to light the trajectories of three Black families who lived in Santa Maria, Rio Grande do Sul, in southern Brazil, between the 19th and 20th centuries. Combining the accounts of their descendants with deep historical research, the film exposes the struggles for freedom, dignity, and belonging, while confronting the celebration of slaveholders in that city against the erasure of Black histories. It ultimately reveals the black ties that forged different ways of existing in the Black Atlantic. The film follows the trajectories of José and Innocência, Anna and Mathilde, bringing forth their names, their faces, their legacies, their ancestral roots, and their descendants.
A film based on a poem by Cassiano Ricardo that described the city of São Paulo with its factories, houses, streetcars, lights, life, etc.; a young woman recited the poem while the images showed what she was saying. "Canto da Raça" was never even shown; Getúlio Vargas ordered the censors to seize it on charges of "parochialism." The film was burned; not even the negative survived; everything was burned.
Documentary short focusing on the people of a poor São Paulo neighborhood, whose lives are made difficult by a large hole on the ground that the government won't fix.
Casa Cheia de Mim is a documentary that presents liturgical practices in Candomblé and the daily life of a bàbálorixá and an ìyàwó. They narrate their experiences and singularities in their relationship with the sacred elements of Yoruba culture, both inside and outside the terreiro.
Four interviewees who live with Autism Spectrum Disorder talk about the diagnosis process and the influence of Autism in their lifes.
The city of São Paulo at the end of the 1920s. Urbanism, fashion, public monuments, industrialization, historical facts, coffee production expansion, education and the sound of daily life. Using the classic documentary Berlin: Die Sinfonie der Großstadt (1927) as a model, Hungarian filmmakers Adalberto Kemeny and Rodolf Lustig, who owned one of the best film laboratories that Brazil relied on at the time, made this documentary.
The documentary covers the carrer of Ivair Ferreira, striker and left winger revealed by Portuguesa de Desportos in the 1960s. Nicknamed "The Prince of Football" by The King of Football (Pelé) himself. He was in the "Yeah, Yeah, Yeah" attacking trio of Portuguesa (alongside Leivinha and Servílio) where he played for fifteen years; was in Corinthians' attacking duo with Rivellino; and North American champion playing for the Toronto Metros-Croatia with Eusébio.
Eliezer Batista – O Engenheiro do Brasil is a documentary about the life of Eliezer Batista, former president of Companhia Vale do Rio Doce, twice Minister of State and one of the most influential characters in modern Brazil. The film reflects the thoughts and feelings of a visionary man and his achievements in Brazil and the world.
So we call the circus our world, it's our little world. Outside the fence is the world that is the world. Inside the fence is our world.
Documentary about the self construction in peripheral neighborhoods of São Paulo. It gathers statements of residents of three areas: Taboão neighborhood in São Bernardo do Campo; Jardim d’Ávila in Osasco and Jardim Castilho in Embu. The film registers the life conditions in those areas and the sacrifice the workers are committed to in order to fulfill their dream of having a house: building, little by little, with the help of friends and relatives, on the weekends.
With confidential and unpublished documentation, the film shows the background and behind-the-scenes of the coup in Chile that took place on September 11, 1973 - and General Pinochet's dictatorship, which lasted 17 years.
A montage of photographs (from police archives and newspapers) of tortured and murdered victims from the slums of Rio de Janeiro. The strange positions of the slaughtered bodies give a critical meaning to two traditional religious hymns that sing praise to the glory of God and the Virgin Mary. The strange postures of the mutilated bodies establish an ironical meaning to the traditional verses, while the voices of singers Agnaldo Timóteo and Ângela Maria add a pathos of deliriously popular, in an atmosphere of joy and triumph of the Virgin Mary. Film-shock. Basically an investigation about the force of gravity upon dead bodies. A small hymn of love to the mannerist art of sixteenth century.
As farm animals are prohibited anywhere in Recife, everyone who gets about by horse is made invisible from the point of view of the law. Only by dealing with the race as if it were scene from a movie – by being able, therefore, to have it considered as being to some extent a piece of "fiction" - is what would make the event feasible and fit to obtain the authorizations needed to make it happen from the official point of view.
The history of São Paulo's first residential district.
Actually, Tomas knows his parents. Born in Brazil in 1993 and adopted from there, he now lives with them in the Netherlands. Now he is faced with the question of whether he should look for his biological mother, or if there are reasons not to do so.
Four generations of the Japanese woman: the struggle for survival, the cult of traditions, adaptation to the city and cultural dilution.
Carlos Drummond de Andrade's poetry is read by exponents of Brazilian culture, such as Chico Buarque, Caetano Veloso, Adriana Calcanhoto, Fernanda Torres, Marilia Pera, Antonio Cicero and others.
Years after a traumatic experience ended, one of vices, discoveries and deep anguishes, Paulo returns to the place where it all began. This time, however, he does not hide his true name.
A recollection of moments between a kid and his granduncle that leads to a personal exploration.
Tribute to the Carioca poet Ana Cristina Cesar, with quotes from Charles Baudelaire, Sylvia Plath, Czeslaw Milosz, T. S. Eliot, Armando Freitas Filho, Cacaso, Carlos Drummond de Andrade, and Manuel Bandeira, accompanied by music from Billie Holiday.
In 1993, Sam Fuller takes Jim Jarmusch on a trip into Brazil's Mato Grosso, up the River Araguaia to the village of Santa Isabel Do Morro, where 40 years before, Zanuck had sent Fuller to scout a location and write a script for a movie based on a tigrero, a jaguar hunter. Sam hopes to find people who remember him, and he takes film he shot in 1954. He's Rip Van Winkle, and, indeed, a great deal changed in the village. There are televisions, watches, and brick houses. But, the same Karajá culture awaits as well. He gathers the villagers to show his old film footage, and people recognize friends and relatives, thanking Fuller for momentarily bringing them back to life.
Six men with an ideal: to use a camera as an instrument to denounce and expose the evils of Brazilian prisons. Life inside makes the imagination of these ex-convicts take flight beyond the bars, using art as a potential instrument for social reconstruction. A docu-drama which addresses racism, prison, torture and the violation of civil rights while also crying for liberty, justice and the right to dream.
By interviewing ex-guerrilla soldiers and political activists, the film seeks to recover memories from the time of the political process that led to the brazilian coup d'etat in 1964.
For years, together with his partners from the production company O Quadro, he has been betting on cinema as a tool to explore the typical issues of youth. In this film, Evandro Scorsin turns the cameras on himself as he deals with the dilemmas of the passing of time and the imposition of adulthood. In an exercise in autofiction where cinema and life merge, the film is also a cinematic love letter to the beloved masters (especially Nicholas Ray). Coming and going between two countries and times, it records the vertigo of displacement and the reinventions inherent to an immigrant experience.
