Julio Matos

A a doc-poem about the woman’s body: dissident, desiring, deviant, empowered, sweaty, throbbing, survivor. On the scene, four artists who defy standards, subvert standards and poeticize their bodies in acts of resistance and transgression.

Doctor Rafidjian turns to Dora Lobo's investigation agency to locate prostitute Ana Cintia. The case is in charge of Bellini and Beatriz, his new assistant. But the doctor is brutally murdered and the detectives infiltrate the night underworld of São Paulo in search of an answer, where they meet Fatima, a mysterious prostitute who gets involved with Bellini.

As Jack begins his gender transition process, Brazil is plunged into a wave of extreme conservatism. The film follows the transformations in his life and in the country, crossed by an extreme right-wing government and a devastating pandemic. Through an intimate account of the daily life of Jack and his friends, we see a network of affection and solidarity flourishing in the midst of an adverse context.

Oksana is an Armenian born in Azerbaijan, from where she was expelled at the age of 14 when the Soviet Union collapsed and the persecution of her people began; Salamu is Sahrawi, but his family fled Western Sahara due to the Moroccan invasion in 1975, and he was consequently born in the refugee camps of Tindouf, Algeria. Both live in London, a city that is home to thousands of immigrants and refugees from all over the world. For this film, they were invited to write letters telling their stories.

In 2000, a multidisciplinary team of Unicamp students carried out the "Olhos Negros: Compartilhando Imagens" project, an exchange of images and representations between the states of São Paulo and Amazonas. Through workshops in schools and social projects, the team produced a video capturing the views and perceptions that children and adolescents in São Paulo held regarding Amazonas and themselves. With this video, they traveled down the Rio Negro (Amazonas), screening it in various communities and conducting interviews to gather responses for the people of São Paulo. The documentary offers a look at the material generated during this process.

Three generations of Kariri-Xocó indigenous people are set on an expedition to recognize the memorial territory of this people, stolen from them over the course of centuries of painful colonization. Their language, their knowledge and even their sacred rituals have been hidden as a survival strategy. Now, armed with cameras, drones, pipes, headdresses and maracas, they travel through the geographical landmarks of their territory in a road movie that is the preparation for new land retakes.

The documentary consists of a video-based exchange of messages between Brazilian and Cuban friends. By facilitating this audiovisual dialogue, the production team enables communication between these individuals and captures—through video letters—stories and life experiences from both countries.

Come to a unique party in Brazil with trans woman Suzy Santos, where for one enchanted day she invites child-spirits called Erês to join her in a sacred ritual of music and dance. Suzy is a priestess of Candomblé - an Afro-Brazilian religion which is one of the few to welcome the vulnerable "travesti" and LGBTQI+ community. It’s not easy to be black and queer in Brazil; a country with deep structural racism where more trans people are murdered than anywhere else in the world. Shunned and cast out from their homes and religious communities, many trans women end up living as street prostitutes to survive. Suzy has created her Candomblé temple as a place of refuge and acceptance for all gender identities, where she guides her community in a religious ceremony to celebrate and incorporate the Erês.