MOLETOM

2009. Curitiba. University of Cinema. After the accidental death of Leandro, a student, inside the filming studio, Romero, the institution's janitor and Leandro's grandfather, after blaming the other 5 students for his grandson's death, kills, dismembers and buries the boys on the campus itself. This story becomes known nationwide as "the boys in pieces". 15 years later, another 6 students are producing a "true crime" documentary about this brutal crime and someone does not want this story to be told. New deaths begin to occur.

A lonely sailorman rescues a stranger from drowning and brings him home. In the days that follow, the two grow closer in a bond of desire and fantasy.

As the twilight of adolescence gives way to adulthood, Casca, Ana, and Fú find themselves stalled on the roadside. The highway shifts before their eyes: a reverse road movie.

Glória manages to get a divorce and moves away, taking her daughters and the desire to start over. As she tries to turn the new house into a home and her body into a place of belonging, she faces, on the factory floor, a delicate competition for a supervisor position between colleagues and her best friend. Courage takes shape as anguish seeps into the flesh.

Reimagining scenes from the iconic Man with a Movie Camera (1929, Dir. Dziga Vertov/USSR), Man with a Cellphone Camera delves into the creative potential and image manipulation in the era of social media.

Mylene is overwhelmed by desperation and regret. She stares at old photographs and spilled pills. Death stares back.

A young man is turning 25 years old and, on his birthday, he reminisces about phrases he heard during his childhood, adolescence, and adulthood. He chooses to dance and make a wish.

Amidst absurd conversations about (almost) true stories, four unapologetic sapphics gather at a bar table. A dialogue-driven film? Yes. A comedy? Hopefully. An excuse to put more lesbians talking dirty on the big screen? Absolutely.