Odu

The 28-year history of the Olodum Theater Band, Latin America's longest-running black theater company. Created in Salvador in 1990, in partnership with the Olodum Cultural Group, the company was responsible for launching names such as Lázaro Ramos and Érico Brás. Gathering archive images and interviews with Bando members, collaborators and other guests, the group's trajectory is built.

One of the most important events in Brazilian history, the Búzios Revolt of 1798 was led by dozens of black men who rose up to overthrow the colonial government, proclaim independence and establish a democratic Republic, free from slavery. The boldness of these men called on the people to make the Revolution and the conspiracy spread to the city of Bahia. The seizure of power is near. But the movement is denounced, the government sets up a Devassa against hundreds of people and four of them are hanged and quartered.

In 1996, filmmaker André Luiz Oliveira started preproduction of Viva o Povo Brasileiro, a film adaptation of the novel by João Ubaldo Ribeiro. Principal photography went on for nine years, but the production was shut down after a series of unfortunate events. This documentary retells that story, repurposing the fictional footage and chronicling the work both in front and behind the scenes.

American couple move to the State of Ceará, Brazil, in the 1930s. The husband is looking for oil. His beautiful wife, Donna, soon falls in love with a rude but charming fisherman. The forbidden romance may destroy her marriage and upset the morals of the small village where they live.

After the death of her handsome but good-for-nothing husband Vadinho, Flor, a widow, marries Dr. Teodoro, a respectable gentleman. Hilarity ensues when Vadinho's spirit returns into her life.

It begins in 1983 in Salvador city, with the attack against José, an ex-member of a left-wing political group. Meanwhile, his nephew Adonias is worried about an assignment his teacher has given him. Consequently, Adonias has to deal with his family's suffering, conflicts at school, and the anguish of having to write his school essay.

A new incarnation of Cangaceiro bandits, led by Coirana, has risen in the badlands. A blind landowner hires Antônio to wipe out his old nemesis. Yet after besting Coirana and accompanying the dying man to his mountain hideout, Antônio is moved by the plight of the Cangaceiro’s followers. The troubled hitman turns revolutionary, his gun and machete aimed towards his former masters.

Amadeu needs money, he and Gina are in trouble.Fate smiles on him when he finds a bag stuffed with a small fortune, which he ends up hiding. Now Gina has to find out where Amadeu kept the bag. But she's not the only one on the hunt for this fortune.

Brazil, the 1920s. The sadistic colonel Minas massacres the hometown of a famous cangaceiro (a kind of revolutionary bandit). The only survivor is a young farmer called Espedito; he is nursed back to health by a hermit who thinks he has been sent by God and therefore baptizes him the Redeemer. Espedito/The Redeemer forms his own gang of cangaceiros but doesn’t really understand what he’s doing until he befriends the proverbial European intellectual, a Dutch Oil prospector, who introduces him to important people. Espedito is hired by the Dutchman and a corrupt local governor, but then the Dutchman changes sides …

An affluent but bored housewife and mother pays for her kinky sex fantasies to come true. |

During the Carnival in the historical site of Pelourinho, Salvador da Bahia, we follow the lives of the tenants of a falling-to-pieces tenement house who try to get by using creativity, irony, humor, and music.

About the life and adventures of a gang of abandoned street kids known as "Capitães da Areia" (Captains of the Sands), in Salvador, Bahia, during the 1950s.

Drawing inspiration from a poem penned by Castro Alves, this film vividly captures the political, cultural, and intellectual climate of Brazil during the late 1970s. At its core, the story revolves around four distinctive embodiments of Christ's image: a black man, a soldier, an Indian, and a guerrilla fighter. These courageous individuals, hailed as the harbingers of doom in the tupiniquim lands, valiantly combat the insatiable avarice and oppressive "civilizing" brutality propagated by the formidable John Brahms—a foreign exploiter devoid of morals.

Experience Roque's routine years after the first movie. Joana's tenement is still full of parties, gossip and confusion. The neighborhood prepares for the Iemanjá party, while dealing with the controversies of the neighbors.

After being exiled for 26 years, Tieta returns to her native village in Bahia, bringing chaos and upheaving the local order.

During Carnival at the historic site of Pelourinho, we follow the lives of tenants in a run-down rental house who try to survive using creativity, irony, humor and music. This is an adaptation of the TV show, not the 2007 movie which inspired the TV show.

Henry Czerny plays American journalist Michael Coleman, a strung-out expatriate writing for a Brazilian newspaper. His professional obsession is Father Stephen Louis, a mildly popular and charismatic priest who has been the major political opponent of the greedy and ruthless landowners of the Bahia region. Mysteriously, the usually outspoken Father Louis has been silent for three months. With the Brazilian Congress about to vote on a major land-redistribution bill that could potentially tip the balance of power even further, Father Louis’s support of the peasants and his condemnation of the landowners is more important than ever. Coleman sets out alone for the politically unstable Bahia region to capture a highly anticipated interview with the elusive priest.

In Pau Brasil, a small, lost village in the heart of Brazil, the families of Joaquim and Nives live side by side. Despite living in the same perverse structure of social oppression, they deal with life in radically different ways.

Òrun Áiyé shows the journey of Oxalá (Carlinhos Brown) to fulfill his mission, the creation of the world. The animation will be narrated by the griot figure, represented through the historian, Ubiratan Castro (1948-2013), affectionately called Bira (Carlos Betão), who will lead the discovery of his granddaughter, Luna (Fernanda Crescencio), to the living memory that is the African continent. The gods Orunmila (Jorge Washighton), Oduduwa (Fábio Santana), Exú and Nanã will play a fundamental role in the outcome of this story.