Max Eluard

In a middle-class neighbourhood in a city in the countryside of Brazil, the real estate speculation is a menace to the affective memory of a group of friends. Their answer to this imminent transformation is to fuck in the construction sites. And what about love? Is love just a construction?

Director Manoela Ziggiatti seeks what inspires and motivates our lives, depicting intimate encounters with her family and close friends to build a delicate narrative about the meaning of being alive.

In a salmon-coloured drawing room, a writer of sadomasochist literature now in her seventies narrates her turbulent, sexually explicit life story, once as her pseudonym and once as herself. What makes up a true biography, the real or the imaginary?

Sandra is pregnant and wants a girl. Her husband Marcos wants a soccer player.

Fifty-something Rosa, lying in an MRI scanner, is prompted to summon a happy memory. She plunges into a meandering, subconscious road trip with her indomitable mother, both queer, where wild imagination becomes a tender, unruly form of therapy.

Amador is a retired and ostracized gunman. Alone and bitter, he collects newspaper clippings of his old crimes in an album. After several humiliations, he will react with violence to the world’s hostility that surrounds him while also trying to get back to action.

In the city of São Paulo, the routine of gravedigger apprentice Deodato changes when a new working girl arrives at the cemetery. Together, they must re-register the abandoned tombs, but strange events make the apprentice wonder about the consequences of messing with the dead.

In Sao Paulo, Janaína and João take care of each other. She has epilepsy. He is in a relationship with a man who prefers to keep his distance. Above their lives floats the vague trauma of a mudslide that may have buried men and machines alike. Together, they try to protect their bodies from the evil that seems to spread like a fever.