Clarissa Campolina

Vale do Jaguaribe, Ceará. Following the route of the Aracati wind, the film moves from the beach to the countryside. During this path, it observes the relationship between man and landscape, thetransformations of space and the limits between nature and artifice.

It is the first time that Joana, a Brazilian, has visited her friend Kevin in her country, Uganda. They met 20 years ago when they studied together in Germany and have not seen each other for a long time. Now they are close to turning 40 and life is more complex than in youth. This is a film about a friendship between women.

A man caught in the verge of freedom. He penetrates a city where the boundaries between reality and dream disappear. He crosses the landscape without belonging to it anymore. A farewell before departing.

Daily life of Belo Horizonte drummer Esdra Ferreira, known as Nenêm. The film goes behind the scenes of the recordings, observing the creative process between longtime friends: Toninho Horta, Mauro Rodrigues and Juarez Moreira, among other musicians.

Solon inhabits a dry, barren space. She begins her mission to nourish the Earth. The landscape and the character herself are changed. The world is born. The woman is born.

Suçuarana is the name of a mythical place, a lush landscape that appears in the weathered photo of her mother that Dora carries with her always. Dora has been on the road for a long time, hitching rides through Brazil’s mining region in search of her family’s homeland. But no one seems to know this place, seemingly lost to time. And the open road can be troubling for a woman traveling alone, as the generosity of strangers is suddenly eclipsed by danger. After an accident, Dora seeks refuge in an abandoned factory; there, a group of workers have formed a village and a community bond that feels akin to the home Dora searches for, if just for a moment.

Everywhere, at dusk, lights and advertising posters become the only living beings among the inert streets. Beings that never meet, strangers almost exactly the same.

The reunion of a couple and their recollections of a broken love.

Wandering Notes revealing an everyday life of the city that the author was born. Places picked by chance show her encounter with this city.

A woman named Françoise meets a man who's waiting for his bus in a bus station.

The Maxakali possess a remarkable plastic and sound refinement revealed in drawings, paintings, clothes, songs and poems. These people have hundreds of years of history. He populated a vast territory, which he traveled nomadicly, from the interior of Minas Gerais and Bahia, to the Atlantic. Today, the Maxakali Indians number around 1,200 people who live in Minas Gerais, in a small territory, between the cities of Santa Helena and Bertópolis. They live under a shadow of poverty widely publicized in newspapers and on television. The film searches for what is missing in the news: the richness of its graphics, its language, its everyday life. Ãgtux means “telling stories”

In Fortaleza, Brazil, Eugenio, Joaquim and João use a clandestine radio to scream their hunger for freedom and revolution. They hack the traditional radio stations, overwhelming them with poetry, rebel music, quotes, sound archives and provocations, attacking the bourgeois and capitalistic society. But one day, Salomé, a mysterious and beautiful listener, crashes into their lives, transforming their destiny.

Odete is caught between the past and the future. She goes on a journey, but remains immobile. She faces the abyss and wonders if she will make it out alive.

Audiovisual letter.

A small-scale romantic love story, shot with a digital camera in black & white and in a documentary style. We follow the conversation between two lovers, each on a different side of the world; he is in Recife, she is in Kyiv. On one side is dark, on the other light, but both experience the same emotions and hence feel nearness and contact.

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.

Bastu's grandchildren and friends help her pick up the strands of her life after her husband dies.

One day, as you leave work and head home, something unexpected happens. Everywhere you go, paths begin to open and multiply. You can go anywhere you want, and with each place you choose, a new version of yourself emerges. You begin to disappear and in that disappearance you feel free: no longer being one, but becoming another, becoming many others. Individual experience gives way to the collective. A constant search for a place in the world. Walking toward the other, toward the unknown—yesterday, today, and tomorrow.

The living call for revenge. The dead minerals and vegetables demand revenge. It is the hour of general protest. It's time for the destroying flights. It's time for the barricades, the shootings. Famines, desires, cravings, lost dreams, miseries of all countries, unite.

Yes, we will build a world. We're not dreaming. Despite the struggle, brick by brick, part by part, we will build it. We're not dreaming.

In the Espinhaço Mountains one winter, a group of small-town Brazilian girls are experiencing the end of their youth. Impossible romances leave marks on their bodies and the surrounding landscape. Each of the friends finds her own particular way to overcome the loneliness and to live within a tangle of uncertainty.

The young Jimena searches for her identity. The film follows the life of the young woman with her mother and grandmother, white middle-class women, and the exchange of letters with her father, a foreign and black man, whom the young woman resembles. Seeking to free herself from the feeling of inadequacy, Jimena rewrites her family relationships and creates other ways of experiencing love, friendship and work ties. Through her eyes, the film considers questions about class, family, tradition, race and gender.