Lorena Da Silva

In the poverty-stricken favelas of Rio de Janeiro in the 1970s, two young men choose different paths. Rocket is a budding photographer who documents the increasing drug-related violence of his neighborhood, while José “Zé” Pequeno is an ambitious drug dealer diving into a dangerous life of crime.

Clara directs the rehearsals of a theatrical play about Fernando Pessoa while constantly seeking the right man and the love of his life. One of the actresses is the lesbian Ana, who interprets the poet Mário de Sá Carneiro. She is Clara's friend and confidant with whom she shares an apartment. Clara does not perceive Ana's love for her, that always helps her to recover from the disappointments. Unlike the character Sá Carneiro, poet of decadentism, nostalgia, metaphysics and vague, Ana is the pragmatic side of Clara, who often brings a disillusioned vision as if it were Fernando Pessoa himself, who may be associated with concepts of the poet's heteronyms.

Jessica, Sabrina and Daiane have dreams, just like all young people of any social class or place in the world. They live in a low-income neighborhood in the periphery of Rio de Janeiro and find in prostitution a way to survive and satisfy their consumer desires. However, even faced with the trials of absolute uncertainty and lack of hope, Jessica, Sabrina and Daiane insist on loving, having fun and planning their future.

An almost forgotten writer is interviewed by a journalist.

The true story of Tancredo Neves, the first civilian president of Brazil after a 20-year military dictatorship, and the infamous hospitalization which led to his death before he ever managed to take office.

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 that uses the very premise of acting, of the game between real and real fiction, to imagine a world in which art becomes impossible and the artist useless.

A successful businesswoman in the music industry sees her life fall apart after a young and mysterious woman starts work as her secretary. The scheming girl is totally obsessed by the famous businesswoman and she tries to steal everything from her, including her career.

Júlia and Pedro suffer from the cruelty of their grandmother, Bia Falcão. Júlia runs the luxurious Belíssima factory and falls in love with Nikos, a friend of her sister-in-law Vitória.

In 1856, the emperor Dom Pedro II lived a marriage of appearances with Teresa Cristina, with whom he was forced to marry at a young age by his parents' political alliance, having two daughters with her: Isabel and Leopoldina. He truly loves Countess Luisa, a cultured and time-ahead woman who fights for the abolitionist cause and women's rights, married to Eugenio, the emperor Napoleon's cousin. At the same time there are sisters Pilar and Dolores: the first went to a convent after her mother's death in childhood, growing up among books and dreaming of studying medicine - inspired by the story of Elizabeth Blackwell, the first doctor in the world -, while the second stayed at home to take care of her father, Colonel Eudoro, growing up repressed, illiterate and without vanity.