Fabio Meira

Directing

Fabio Meira

Born January 1, 1979 · Goiânia, Goiás, Brazil (age 47)

Fabio Meira is a Brazilian film director, writer and producer.

Known For

The Extraordinary Life of Vera Valdez
NEW
The Extraordinary Life of Vera Valdez · 2026
The Extraordinary Life of Vera Valdez
★ 7.02026
MovieDocumentary
A portrait of Brazilian actress Vera Valdez, tracing her years as a model for Dior and, most notably, Coco Chanel; her flirtation with the French New Wave; her complex journey through motherhood; and her imprisonment and torture during Brazil’s military dictatorship.
The IllusionThe Illusion · 2009
The Illusion
★ 8.02009
MovieDocumentary
Susana Barriga’s documentary, the illusion, begins with violence. A long shot reveals a man standing on a street corner, his features indiscernible in the night. He moves out of the camera’s line of vision, but the filmmaker, persistent, moves with him as the jostling of the camera marks her steps. As we learn moments later, the man in the distance is Susana’s father – and this is the clearest image of him we will have. Suddenly, an angry British man demands that Susana cease filming. Susana protests in heavily accented English, “He is my father!” Glimpses of a man’s torso are followed by blurred images as the camera spins rapidly over surfaces. The image cuts to black. A new male voice asks in carefully spaced out words if Susana would like him to call the police. When she doesn’t respond immediately, he speaks louder, as though volume would compensate for the language difference. She gives her name; she refuses the offer of an ambulance.
MambembeMambembe · 2026
Mambembe
2026
MovieDocumentary
Ruy, a solitary surveyor, travels the harsh Pernambuco. His life is transformed when he meets three women from a mambembe circus, Madrinha, Jéssica and Diadorim. Through the history of these four characters, "Mambembe" deals with chance while reflecting on artistic construction.
HomelandHomeland · 2012
Homeland
2012
MovieDocumentary
The story of the volleyball semi-final game at the 1996 Atlanta Olympics between Brazil and Cuba. Players from both countries review the match and comment on the emotions and events that occurred.
Two IrenesTwo Irenes · 2017
Two Irenes
★ 6.82017
MovieDrama
In the shimmering heat of Brazil, 13-year-old Irene discovers a dark secret her father's been hiding: he has another family and even another daughter with the same name.
NovemberNovember · 2013
November
2013
MovieDrama
The doorbell at the bridal shop rings.
The Discreet Charm of a ChampionThe Discreet Charm of a Champion · 2015
The Discreet Charm of a Champion
2015
MovieDocumentary
“The Discreet Charm of a Champion” portrays one of the quietest athletes in Brazilian sport. Record holder in participations in Olympics, five in total, the lifter Fofão, about to complete 30 years of career, brings with it a trajectory of patience. He waited more than a decade on the bench to become the biggest winner in Brazilian volleyball. Through it, it is possible to portray 30 years of the sport in the country and characteristics inherent to great athletes: humility and perseverance.
PaternoPaterno · 2025
Paterno
★ 7.02025
MovieDramaThriller
Sérgio is determined to take over his family's construction company to pursue a long-buried dream. But when he uncovers a hidden chapter from his father's past, his ambitions are shaken, forcing him to confront the man he has truly become.

Filmography

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The IllusionThe Illusion · 2009
The Illusion
★ 8.02009
MovieDocumentary
Susana Barriga’s documentary, the illusion, begins with violence. A long shot reveals a man standing on a street corner, his features indiscernible in the night. He moves out of the camera’s line of vision, but the filmmaker, persistent, moves with him as the jostling of the camera marks her steps. As we learn moments later, the man in the distance is Susana’s father – and this is the clearest image of him we will have. Suddenly, an angry British man demands that Susana cease filming. Susana protests in heavily accented English, “He is my father!” Glimpses of a man’s torso are followed by blurred images as the camera spins rapidly over surfaces. The image cuts to black. A new male voice asks in carefully spaced out words if Susana would like him to call the police. When she doesn’t respond immediately, he speaks louder, as though volume would compensate for the language difference. She gives her name; she refuses the offer of an ambulance.

Editor