A Casa de Sandro

The adventure of Melissa and Gustavo starts aboard a red cargo ship crossing the Atlantic Ocean. It takes them from Brazil to Berlin, a city of perpetual movement, where the old constantly has to give space to the new. The couple finds a home and transforms it into the center of their own universe. As time passes and seasons change, life and cinema become interchangeable and their apartment evolves into an ever-changing stage, where friends are invited to play their own roles and reality and fiction merge. Until one day a cosmic portal appears in their home, opening connections between the past, the present and the future.

No measure of hellfire preaching can quell the boisterous and bawdy passions of Maracatu, an Afro-Brazilian burlesque carnival tradition with roots in slavery that takes place in the northeast state of Pernambuco. As the Falstaffian character Tiao, Valmir do Coco leads a nonprofessional cast of authentic Maracatu practitioners in a tale told through dance, music, and the supernatural, set in the sugarcane fields outside Recife.

A documentary about the story of Mario de Marcella, a hermit that lived in the woods near Rome. He was called by hunters "Il Solengo" because that's how they call the lone boar that is cut off from the rest of the pack.

Pinky is on the run. At night the empty streets smell of the apocalypse and the city seems to be on fire. Narcotics swirl through the veins and the air. Having freed himself from the clutches of a sect led by a certain “padre” and determined to take his fate into his own hands, he is now holed up in an illegal T-shirt factory, surrounded by paints, slogans and heat presses. Pinky is looking for the light at the end of the tunnel, but ghosts are breathing down his neck. He is running for his life, and Colombia is on fire. But Colombia is alive.

Antonio runs away from home and tries to spend the night at his ex-girlfriend's apartment. There he finds a brazilian girl, an unexpected guest. Johnny is struggling to stage his first theater play in Lisbon. His friendship with the young light technician will make him face his real problems. Débora is passing by, finally returning home. When she goes to the theater, she falls asleep, and is awaken by the protagonist. Three dimensions of the same story.

Invented by the post-New Wave, the exercise is well-known: put a filmmaker in the frame, make him talk about his career, evoke his admirations, rummage in his methods, and add words to silences, spoken images to seen images. It’s always very instructive. As is the case here too. Chantal Akerman, passing through South America, talks about herself for an hour, and it’s fascinating. Even if her recalling of the relationship between the cinema and time makes up only a few rare minutes.

In the year 74 BC, Titus Lucretius Carus, a young man with bold ideas, tries to convince his friend Memio that moving to the city of Rome to study is a total waste of time. Years later, Lucretius returns from the capital. Trying to find a balance between his explanations of the natural world and his emotional experience of it, Lucretius lives a deep and troubled passion with his foreign wife Isa.

This allegorical docufiction provides the viewer with a lightly meditative and at the same time modern impression of the Christian holiday while paying witness to the transformation of the sacral space and the holiday's religious message. The film's anonymous protagonists from opposite sides of the world discuss the paths of their faith in this visually stylized and stylistically edited film.

Found footage documentary about Ismar Tirelli Neto.

A silent, black-and-white train journey through Eastern European winter landscapes takes a man to a Croatian village. An arrival in the cinematic tradition of 1920s avantgarde, with the railway and industrial modernity as a favourite graphical motif, which takes him past a fish market and a strange procession, and finally home to a small family, where the grandparents drink tea, smoke cigarettes and chat cheerfully. The image of a young woman burns itself onto the celluloid - and into the filmmaker's consciousness.