Natália Dornelas

On the edges of their bodies, between the fragility of existence and its desiring intensities, three brazilian artists are transmuted with each performance. Their works question the limits we set in and for our own bodies.

Benjamin and Pia have lived in isolation since the girl's mother died. While she experiences the issues of transitioning into pre-adolescence, he finds raising birds as his emotional outlet. Everything changes when Pia asks for a cat as a birthday present.

That morning, when Damiana saw Rosa enter her store, her long-held decision to never interfere in anyone's destiny was shattered. “Days of little bread and zero dreams” follows Damiana’s perspective, which follows a cut in time in the lives of characters living on the limit between dreams and despair.

Zé runs a repair shop where he toils over the dregs and discards of his suburban seaside town. Zé is a black bisexual middle-aged man looking for love, and facing down the invisible traumas of colonialism to find a new kind of freedom. But can he learn to mend his relationship with himself?

Young people gather to have a party before going into lockdown because of Coronavirus. They talk about music, arts, work and the uncertain future, not knowing when they will be able to meet again.

"My Uncle with the Camera" follows 30 years of home movies shot by Paulo Henrique of his family in Vitória—an upper-middle-class family from Espírito Santo growing up in Brazil during the 1990s and 2000s. Through the intimate gaze of his camera, a political panorama of Brazil emerges, shaped by masculine family affectivity.