Recessão Econômica

Henrique, a struggling São Paulo filmmaker, is invited to direct a music video for Bahian singer Cristian Mugunzá, beloved by legions of fans. With music, humor, and drama, their relationship becomes a turning point for both.

Zezé is an 8 year old boy who, although a naughty boy, has a good heart. He leads a very modest life, due to the fact that his father has been unemployed for a long time, and has the habit of having long conversations with a sweet orange tree which is in his backyard. Until one day he meets Portuga, a man who begins to help him and soon becomes his best friend.

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.

The quiet city of Veredas is home to Casa Rosa, a famous brothel in the backlands of Minas Gerais managed by Ismael's mother, known to everyone as O Filho da Puta. Tired of his life, the young man leaves with his dog towards the coast in search of the father he never knew. Along the way, he finds himself faced with situations that, at the same time as they transform him, insist on reminding him of the fate he is fleeing.

The beautiful Flor marries Vadinho -- and soon finds out he's spending all their money on gambles and has mistresses all over the city. Vadinho suddenly dies while partying during Carnival, and Flor, left helpless and full of debts, ends up marrying Teodoro, who's the exact opposite of her late husband.

Imaged manifestations revealed within a finite geographic space, limited by the insignificant actions of their characters.

William Shakespeare's classic tale of impossible love between two young people from rival families, adapted to the context of Brazilian popular culture by director Gabriel Villela. Considered a milestone in the history of Grupo Galpão and one of the most significant plays in Brazilian theater in the 1990s.

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.

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.

The singer Dalva de Oliveira and the composer Herivelto Martins lived intensely on the stage and in life. The 13 years of marriage and the disagreements, which gained emphasis with the separation, contributed to an important artistic and cultural production.

Carlos is a man doomed by restless memories, that meets with himself, in a time warp. Young Carlos faces the forgetfulness of old Carlos, who doesn't recognize his own appearance. They get a package. But the package seems odd. The knot that ties, the smell, the handwriting on the envelope: this could only be sent by his father, Ernesto, who has been dead for many years. A father who always created unusual situations. In this time warp, Carlos is split in two: one Carlos remembers and the other forgets the moments he spent with his father.

Mesmerized by the image of an active volcano on the other side of the world, a woman sets out to meet her fury. On the way, without being able to return, she finds herself in an extraordinary pregnancy, starting the account of the journey that gives shape to this play-film, a journey between theater and cinema inspired by the narratives of fantastic realism.

In the shimmering heat of Brazil, 13-year-old Irene discovers a dark secret her father's been hiding: he has another family and even another daughter with the same name.

Grupo Galpão’s Romeu e Julieta (1992), directed by Gabriel Villela, is an intercultural adaptation of Shakespeare’s Romeo and Juliet, a production that intentionally draws on a range of popular practices such as street theatre, circus performance and the tradition of the commedia dell’arte, as well as on elements from the cultural imaginary of Minas Gerais in southeast Brazil.

Júlio was raised only by his mother. Now, at the age of twenty, he discovers that it will be his turn to be a father, and that's why he decides to go after the father he's never seen.

A self-employed worker faces financial and emotional problems. Without any decent opportunities, he creates a channel on YouTube as an attempt to monetize on his own failures while takes precarious jobs in huge corporations.

Continuing the exploration of the thin line between truth and performance, Eduardo Coutinho turns his attention to the drama generated during rehearsals for the Galpão Theater Company’s performance of Chekov’s The Three Sisters. As he shoots scenes from the play, Coutinho attempts to capture the very moment in which reality becomes fiction and vice versa—whether through the actors’ bodies and words or in backstage scenes of a performance that will exist only on film.

It's night and a woman needs to get to the airport, but there are many obstacles in her path.

Undercover in Brazil seaside, a group of aliens had their planetary domination plan interrupted by the Covid pandemic