Ernesto Rodrigues

Surprising stories, preserved in foreign archives, from the debut of the prodigy boy at the World Cup in 58 until the farewell in New York, with Pelé's on the field and outside the “four lines” filmed by foreigners in Brazil, Europe, the Americas and the Oceania.

The documentary seeks to understand, through its characters’ testimonies and meaningful events, how Rio de Janeiro’s military police became a demoralized, violent and corrupt institution. Without denying the police’s importance, but aware of the difference between restraint and police brutality, the movie will relive the biggest events from the last decades in which those who tried to bring the military police closer to the law collided with those who transformed it into a feared symbol of urban violence.

Knowing where you come from is just as important as knowing where you are going. The memories and reflections of Otávio Sabino, a former employee of the Railway Network, through the eyes of Mery Lemos, his daughter and the film's director. The world seen from the window of a train in the Mata Norte region of Pernambuco, memory, nostalgia, rust, sounds, gears, critical reflection, music and poetry come together.

Anastácio lives in Lisbon and is fanatic for Sporting CP, one of the city's football teams. When the team travels to face Porto, he follows it with the family, staying in house of his friend, Mr. Barata, pretending to be rich.

Kaewta knows her final day is fast approaching. She decides to fly to New York City to forget her painful past and spend her last four months there. Fate plays games with her again when she has an accident upon her arrival, and she can't even remember who she is.

​An unprecedented collection of pictures, characters and historical facts about the city of Rio de Janeiro, rescued by tv networks, documentary filmmakers and foreign journalists over the course of the 20th Century. The film reveals how Rio, its inhabitants and its cultural and natural attributes have been seen by foreigners. This is an opportunity to relive, through the eyes of a foreigner, social, political, technological and mundane events which Brazilians either did not manage to document audiovisually or whose works were lost.​