César Nogueira

A couple of rubber workers from Manaus are transported from 1919, the end of the Spanish Flu in Brazil, to 2020, the height of the Covid-19 pandemic. Between quinine, British tea, street music and internet modem, the couple's adventures, under the intoxicating opium of pornochanchada, show how the country's conservative structures have been maintained since other carnivals.

Bola was always known for his peculiar laugh, and his friend, César, often shared it on social media. When a trauma caused by the pandemic makes Bola lose his laugh, it’s up to César to make him laugh again.

Manaus, April 2020. Karoline is a theater actress who decides to go to a Caixa branch to request her emergency assistance. She is accompanied by her sister who is going to try to get her job back.

Omar gives up going to a job interview in Manaus and decides to embark on a road trip with strangers. On a day when all sounds tedious and pragmatic, it seems to be the road the only way to Omar to seek courage and answers to one life in the city that does not satisfy him anymore.

In this semi-autobiographical drama, filmmaker Diego Bauer plays a fictionalized version of himself confronting his past and present during a drastic weight-loss journey. As his body changes, he revisits memories of childhood, family, and social stigma, while questioning masculinity, desire, and belonging. Alongside this process, he reflects on his bisexuality and attraction to male and female bodies, exposing confusion, vulnerability, and self-acceptance. Blending fiction and confession, the film follows his attempt to reconcile who he was with who he is becoming in a society obsessed with norms and appearances.

In the heat of a Manaus night, the young women, Orfea (she) and Eurídice (they/she) have fun with their friends in the middle of parties and bars of the city's queer nightlife, all while they try to hide what they feel for each other.