Djin Sganzerla

Young directors are filming “The Exhibitionist” in the middle of a farm in a paradise-like region. The film poetically investigates the Brazilian soul, with the Amazon as the center of the world, reflecting on existential issues, the right to sexual freedom and individuality.

In search of a powerful hallucinogenic, five friends embark on a dangerous journey deep into the Amazon. But a bad trip isn't the only threat as they discover when they stumble across the hidden camp of the crazed Dr. Moreau and his murderous animal-human hybrid creations.

A group of young people is in a bar to drink, and they are trying to choose a story for the movie they are decided to make, but their characters are not very satisfied with the results of it.

A marginal version of Brecht’s piece, “Baal”.

Cleo, a 43-year-old astronomer who is pregnant and emotionally fragile, is surprised by a visit from Nalu, her half-sister of Indigenous descent. The encounter reveals dark secrets and stirs up fragmented memories in Cleo, leading the two of them down a path of mysterious investigations.

Silmara, an industrial worker and a woman of exuberant beauty, supports her arsonist father and gets involved with two different pop stars, from whom she learns traumatic life lessons.

The story tells of the parallel lives of two sisters: Erica, in São Paulo, and Laura, in Stockholm.

“If you had to choose between me and your mother, who would it be?” Capitu asks provocatively of her problematic lover. Elsewhere, they dance to inaudible music with their friends, each couple keeping to a rhythm of their own. At times, this depiction of the memories we see one Dom Casmurro commit to paper with a flamboyant pen seems to be an interplay of conflicting emotions – particularly when jealousy raises its head. Adapted from the Brazilian classic novel 'Dom Casmurro' (1899) by Machado de Assis as an ironic/philosophical essay on poetry and jealousy, and featuring fragments of Bressane’s previous works.

The mayor of the city of Rio de Janeiro wants to go down in history. For this purpose, he decides to separate Rio from Brazil and create a new country.

Elias sees his world threatened when his ex-wife, one recovering junkie, asks for the guard of their son. Fito is in desperation for losing his father because of Elias. Isis, who hides in a vagabond hotel, can be the salvation for Fito and Elias.

Jorge, bastard child of the infamous Red Light Bandit, decides himself to pursuit a life of crime after meeting with his father, who has been incarcerated for the last 30 years.

A customs agent, Dr. Amnésio, examines some reels of film, a documentary Orson Welles made about Brazil, and tries to confiscate the material. Then, a party in which repression agents celebrate their victory against freedom and creativity.

After relocating to Tokyo, a Brazilian writer begins a new novel, provoked by her experiences in Japan and by one of the last scenes she witnessed in Rio de Janeiro: a female swimmer tearing up the horizon with powerful strokes in the wide, open sea. Those two women apparently share no connection, until their lives start to interfere in one another, strangely linked through the sea. Hannah, the writer, plunges into a journey of self-discovery in Japan, while Ana, the swimmer in Rio de Janeiro, oddly has her body transformed into some kind of inner Ocean.

Hated by the Greeks, detested by the Trojans, Helena lives a peaceful life in Guaratiba, a fishing neighborhood in Rio de Janeiro. Until love knocks on her door, bringing back ghosts from her past.

Meu Nome é Dindi shows the movement of time over a young woman who owns a small marketplace near bankruptcy and fights for survival.

A film about love, also a memoir, about the trip made in the 1970s to Morocco by Jarda Ícone, an artist, sexologist, and octogenarian rocker, as she defines herself, and Lírio Terron, a human rights activist. In fact, a journey that is not over in their lives. Jarda Icon teaches classes on how women can obtain their own orgasm. With her group of disciples and friends Ana Brasil, Sheyla Fernanda, Caroline Sylvie and Lakshmi she develops self-sustainable feminist and artistic projects. The film is political, but not at all politicized in the traditional sense. It is an ode to the underground and counterculture movements, it is a hymn to freedom, and its title is also a tribute to Oswald d Andrade, one of the main names in Brazilian modernism.

A film in which dream and reality intertwine, A Moça do Calendário tells the story of inácio, 40, married, without a permanent job. Ex-street sweeper, he works as a mechanic at Barato da Pesada, where he dreams of the calendar girl.

A bank manager has a secret. He is compelled to bite society women hands.

In a country house, the patient and her husband get involved with the young psychiatrist. The noises of the forest surround them.

A study that unwraps a paradisiac scenery, reaching the subjects of Brazility and its force in the change of habits, breaking taboos and bringing out a magical and original reality throught its characters.

I am the double of the shadow of my own image. An allegory that occupies my place. This is my act of contrition. Beyond good and evil, I stand as an equation: Its result cannot be manipulated By morals or ethics. In mathematics there is no place for beliefs Just as life and death Are a certain fate.

A documentary on prolific underground Brazilian filmmaker Rogério Sganzerla.