Vinícius Amaral

What binds us to the images we create? If the act of capturing them belongs to us, to whom does the image belong: to what allows itself to be seen, to the one who records it, or to the one who first imagined it? Between thought and the world, perhaps the image belongs to no one or passes through everyone.

A surrealist queer experience. Sweder, one day as he prepares to cut a fish, feels somehow touched by the commercial that is playing on TV about the consumption of animal flesh and violence, so he decides to adopt the fish and treat it like a son.

Documentary about the preservation of Brazilian films on celluloid.

Maria takes on the responsibility of caring for her elderly mother, Conceição. During dinner, Conceição refuses to eat, causing Maria to gradually lose her patience and leading to an argument between the two.

After 23 years living with his mother, Francisco is moving. The last week of coexistence between him and Ana is marked by intimate conversations, small arguments, advice and everyday life.

*Twink* is a sacrificial ephebe who insists on surviving as a symptom of cultural memory. Drawing on a queer reimagining of the myth of Eros and Psyche, the film maps the disguises through which twink iconography has infiltrated the history of the image.

The shooting of “Rio e Luar” is about to begin. What the crew doesn't know is that Max, the film's director, is in a secret relationship with Hugo, his photography trainee. The situation becomes even more complicated when Hugo decides that it's time to tell the world how they feel about each other, even if it jeopardizes their careers in the prejudiced film industry of the 60's.

What defines who we are: what we see in ourselves or what others see?