Veronica Cavalcanti

The elderly Perpetua, feeling the approach of death, decides to prepare Zeca, her beloved grandson, to the inevitable. She tells him the story of a king and a queen, a wealthy and powerful couple who lost their only child but wishes to bring him back to life. Meanwhile, Damião e Josefa work hard to support their family and to prepare their daughter Fátima's wedding. At the end, the tale told by Perpétua and the destiny of that family will cross.

The dry quarry and a forest that still beats. A very sick father reviews the daughter. Resentments are brought to the table. The memory of the dead awakened by blood, objects, shadows and dreams affects Clarisse at this scenario of beauty and agony. Husband and business are expecting she in the city for a cathartic outcome.

After committing a crime, the woman leaves her home and family in search of an unknown destination. It is not known who she is, nor the reason for the crime. The mystery about this woman is one of the key points of the narrative. Throughout history she will be called Maria, Rosa and Ana, perhaps one of them will be her real name, perhaps none. She will walk for a whole day, hugging a watermelon and will have brief encounters that will mark her day and her life, facing a world that is sometimes hostile and sometimes delicate, in an attempt to live with the love and disaffection that she brings in her. .

In an isolated fishing village, Esmerina is married to a fisherman and has 26 children. The oldest son secretly desires to leave to see the world beyond the sea. The daily routine of this family is suddenly altered when a mysterious boat runs aground on the beach entering Ana, a girl who survived the shipwreck.

As a doctoral student, she investigates women's rights to expression within peasant protests; through this engagement, she seeks the strength to dismantle the fundamental structures of patriarchy, addressing issues such as marriage, family, and the valuation of these women's labor and freedom. This is a fictional film rooted in many real-life moments — shot at the MST’s (Landless Workers' Movement) Normandia encampment in Caruaru — that blends fiction with documentary elements.

While a soccer team plays its games, events are experienced inside the houses. In other spaces, clay and the measure of a family's conflict.

1942, in the middle of Northeastern Brazil, two very different men meet along the road: Johan, an aspirin salesman avoiding the German draft, and Ranulpho, a rural Brazilian seeking escape from the drought.