Riverock

On the edge of the Transbrasiliana highway, Edna lives in a land in ruins, built on massacres.

Guitarist Lanny Gordin was one of the fundamental characters in the transformation of Brazilian music from the 1960s onwards. He electrified Gal Costa, Gilberto Gil, Caetano Veloso and Jards Macalé, among others. Lanny reveals his libertarian process of composition and current thinking, embarking on an unusual odyssey through China, his birthplace, and Brazil, the country where he lives.

A man's journey through time or infinite space.

A documentary following five actresses through Santa Catarina roads as they perform the play of the title.

Vera and Gabriel, an elderly couple, navigate through past and present, telling their own life story. Their remembering, rendered in images from family archives that confound themselves with images of the present, suggests a personal diary on love and death.

During one night, a woman walks through Rio de Janeiro, and hears the music around: jazz, rock, eletronica...

A political mockumentary that never talks about politics. The film follows Rose, a "professional dog walker" who has recently occupied a vacant house which now she calls home: the realization of a dream. While claiming to take care of the property until the return of the landlady, the new "tenant" creates intimacy with the house develops a fascination for the absent woman.

An experimental trip about Brazil after H.O.

Recently divorced, Roberta is living her best life, until she discovers that someone has turned her biggest secret into the plot of a soap opera — where she is the villain.

The film is a narrative starting from the story of Pierre and Syl, a couple that experiences the conflict between possession and freedom in a troubled relationship. Pierre is insecure and jealous, while Syl can’t even imagine that spending time with her friends will affect her boyfriend’s emotions – and also her own in a tragic way. A musical in tribute to Brazil, the garden of the Atlantic Ocean.

The gun pointed at the head is a delirium that expands into disorderly controlled chaos. “He Who Saw the Abyss” by Gregorio Gananian and Negro Leo, is like a car that enters the curve at 300km/h, but slowly. In an experimental whirlwind, moving between a noisy sound and an almost idyllic musicality, the film is structured out of a pile of images that seem as intimate as they are delirious, accelerating into a trance that is fragmented by a montage, signed by João Dumans and Gregorio Gananian, who strive to articulate an intense experience on the big screen.

Down on his luck and recently divorced, Paulo has begun driving a cab around Rio, hoping he’ll make enough to send his ex money to support their ten-year-old son. He mostly works nights, so in addition to his encounters with a colourful variety of customers, colleagues, cops and others, he must cope with loneliness, fatigue and new faces in his life.