Jules Elting

Days after her baby is stillborn, Robin's breasts begin to produce milk. Unable to throw it away, she decides to donate the milk. As her quest for a place to donate is more difficult than she anticipated, more and more milk starts to crowd her freezer and life.

Stranded along a sublime river fjord in northern Portugal, an ornithologist is subjected to a series of brutal and erotic Stations-of-the-Cross-style tests.

Uno has a fantastic gift: he can talk and listen to cars since he was a child. After a new law prohibiting the use of aged cars puts his father's taxi company in danger, he takes a decision to recover an old family car into a “new one”, and its name is King Car – a car that speaks, listen, and even fall in love. A car that has plans for everyone.

Released from the Mental Health Wing of São Paulo State Penitentiary after forty years, the sadistic undertaker Zé do Caixão is back on the streets, haunted by ghostly visions and spirits of past victims but still set upon the goal that sent him to prison in the first place: finding a woman who can give him the perfect child.

Everything that can be imagined can be dreamed, but even the most unexpected of dreams is a puzzle that hides a desire, or the opposite, a fear.

These young women are an odd couple. Julie is quick-witted and stubborn. She celebrates idleness and even voluntarily checks into a psychiatric clinic. Nurse Agnes, on the other hand, is always eager to do the right thing and to meet everyone's expectations of her, which is not always easy. When the two of them accidentally meet one day, odds are they won't get along. But they quickly feel attracted to one another, despite their enormous differences.

From 2000 to 2007, Teat(r)o Oficina Uzyna Uzona worked on the staging of Euclides da Cunha's epic book, Os Sertões, which describes the 19th Century War of Canudos in the Brazilian "sertão"(backlands). The result was the pentalogy of plays: A Terra (2002), O Homem I (2003), O Homem II (2003), A Luta I (2005), and A Luta II (2006). This first play is a carnival opera, the actors are the earth, the vegetation, the wind, the animals, the rivers, the drought. It reveals the most intimate secrets of nature, that also vibrate in the human and trans-human arteries. This work enriched by the experience that the subsequent works brought gains an updated insight into the human interference in the environment. Destructive power is proportional to financial power, and the discussion about the way space gets occupied was brought to the forefront, including the real-estate boom that surrounds today not only Teatro Oficina, but the whole world, now hotter and more arid.

It was the first night of him at her house and all he wanted was to stay for breakfast.