Amanda Devulsky

The suffering of the young middle-class artist is staged as a political satire with a contesting and cynical bias.

A self-employed worker faces financial and emotional problems. Without any decent opportunities, he creates a channel on YouTube as an attempt to monetize on his own failures while takes precarious jobs in huge corporations.

Three friends from different parts of the Federal District meet in the park at night to tell and record their nightmares. Their fears echo through the city. Can youth regain its rebellious streak?

At a time when Brazil was becoming a democracy (1985-1995), four women — Jô, Eunice, Alessa and Fabiana — became mothers while still in their teens. Political evolution and the abrupt entry into adulthood and motherhood are mixed in a film that shows their domestic space, built from personal archives, as well as contemporary images, filmed by the protagonists in 2018, during the election campaign of Jair Bolsonaro.

The noise from the parking lot #11 echoes in the park. It's nice to be able to count on you.

In the interiors of somewhere, four nameless female characters record themselves in epistolary fragments. “Body or surface?” they might ask the camera or themselves. A film that touches on the relationship between image, self-image and the loneliness of a generation of romantic girls who are no longer that young.