A solitary detective tackles a murder case after the victim's brother testifies as a witness. Due to the mysterious nature of the crime, he calls upon another detective in his local force for assistance.
Elisângela is a ten-year-old girl who lives in Morro do Amaral and has taken on too many responsibilities since she was young. An accident and the appearance of the girl from the city will turn her life upside down. Where she lives, the streets are made of dirt, but they have sugar.
The boy Lúcio is in the hospital with his mother (Alda) and sister (Zulma) when he receives an unusual visit from his grandmother Neusa, from the films “Dentro da Caixinha”, dressed as a clown. Doctor Parafina lends a mysterious little box that, when opened, transports Lúcio and his family to the Sertão da Memória, a fantastic place inhabited by characters from children’s songs, such as Mulher Rendeira, Mestre André and Marinheiro Só. However, the presence of the children in the forgotten world of old songs revives hope and awakens, in all the inhabitants, the desire for them to stay inside the box forever.
Jequi plays in the waters of his village and learns how to defend them from a great threat. This quilombola boy decides to send a warning to other children, through messages that reach the rivers of the world and his own imagination.
The image of a body that is not in front of the camera. The absence of an image. The presence of a body. The materiality of a dream that is impossible to remember when one wakes up. Someone falls in love. Someone searches for words. Someone moves. Someone falls, or flies. Everyone dances.
During a school trip, Rafa gets into a fight with his classmates and ends up being forgotten in a park. Without any means of communication, he will have to rely on the help of strangers he meets along the way to find a way to get home.
Tensions rise between Kendra and Ben as they move out of the city and struggle with fertility issues. Their relationship reaches a boiling point when Ben secretly helps his brother, while Kendra returns to the city and reunites with an old friend.
The turn of the year is approaching for friends Day, Samantha, Luzia and Jurema. Along with it, the Ciclo de Reis takes place, a festive-religious period that confronts their lives. (João Cabral, Juazeiro do Norte-CE).
Two construction workers, Lourenço and Cícero, find themselves in trouble with Manchinha, a child who works for the local drug trade, who steals their lunch boxes to eat.
“Jamais Visto” is the film we will never see. Set somewhere in the future in a phantom medium that suffers from direct interference from radiation and geomagnetism, the film reimagines the North Zone of Juiz de Fora and the housing complexes as the last refuge in the face of nuclear catastrophe.
Heyari (Yanomami for “spreading smoke to make someone sick by casting a spell on fire”) addresses climate collapse in a housing complex, with its residents as part of the cast. Stubborn in her faith, Joana refuses to flee to the mountains with her son while lonely elders succumb to the heat. One of them is the mother of Viktor, a gold miner who returns to the complex injured when his house is taken by the sea. Everyone flees while Joana stands firm, caring for Viktor and clinging to the unlikely return of her son — until a murder and scarcity transform her into the very thing she fears most.
Guided by a messiah, cosmonauts take over a planet, transforming its original inhabitants into workers in their work: the construction of a nation. But Ning, a collective consciousness of revolt, emerges, bringing the imminence of a general strike.
Gledson is a lonely worker who left his hometown with the dream of becoming an actor in Rio de Janeiro. Tormented by vague memories of his past, he sees his life change when he begins to write a book about Teresa, a prostitute who goes through death expecting a child and ends up on a fantastic island. When a friend of Gledson decides to turn his book into a film, reality and fiction mix: while Teresa has to decide what to do with the child born on the island and the writer deals with the challenge of becoming a creator, the film changes when the director confronts the experience of her own motherhood.
In an old, dilapidated mansion in downtown São Paulo, an old Shakespearean actor exiled from the stage lives with his ghosts. In his bed, surrounded by red curtains taken from an abandoned theater, he dreams of the plague and fire spreading throughout the country. A strange community forms around the old actor.
Three ghosts come together to answer a question: how did we get to the Brazil we are today? The three men summoned are: Fernando, a bohemian family man and collaborator of the military dictatorship; Arnaud, a teenager who got involved with a group of vigilantes; Sebastião, a black and gay photographer who lost the love of his life. The Secret Life of My Three Men is a historical drama that questions Brazil's identity in the face of its history and legacy of violence and, through poetry, creates the possibility of another reality.
Having spent years on the road trying to escape the ghosts of his past, Roben despairs when a disembodied presence invades his electronic devices: it is Batma, his former partner. As they discuss the possibilities of a relationship mediated by the cloud, Roben will have to confront his origins, which he has been despised for being just a supporting character - and discover if there is anything left beyond Batma's desire for domination.