The Strange Case of Ezequiel

Paris - an American who recently arrived in Brazil - and the Brazilian Thais begin a simple friendship sharing feelings and sensations, even if they do not understand a single word each othar says.

Deusimar is the owner of Inferninho, a dark and run-down bar that is a refuge for dreams and fantasies. Her dream is to leave everything behind and go away to any distant land, as far as possible from that place. Falling in love with Jarbas, the handsome sailor that arrives at the bar, dreaming of finding home, will completely change her life and the lives of the bar employees: Luizianne, the singer; Rabbit, the waiter; and Caixa-Preta, the cleaning lady.

After being abandoned by the man she loves, Amianto isolates herself in a world of fantasy and delusions. Her only friend is Blanche, a dead girl who protects her from beyond. Mixing naivety and melancholy, Amianto tries to reconnect with the real world.

The inhabitants of the Brazilian city of Contagem yearn for a better life. At the core of it all is Selma, a woman dreaming about the heart of the world: it could be anywhere, as long as it's a place where to feel happier.

Away from home, living alone in an old and gloomy apartment, Pérola feels the effects of the time passing, being increasingly taken by nostalgia and fear to a point where dream, fantasy and reality lose its borders.

In Fortaleza, Brazil, loving, drinking and singing. The return home, braving stray dogs. And taking photos, up to the moment the plastic camera bought in 2013 gives up the ghost.

Arrested since a popular demonstration in 2013, Janaína escapes and meets her friend Cassia in a context of an ongoing coup d’etat. Their reunion brings along their drums and attempts to break out the imposed silence over black lesbian bodies.

Madalena is a film producer having to deal with the recent death of her father, her 8-month pregnancy and the production of a B-sci-fi film where everything seems to go wrong.

No man is a failure when he has friends.

Otavio and Gilda are a very wealthy couple of the Brazilian elite who have the habit of eating their employees. Otavio owns a private security company and is a notable member of The Cannibal Club. When Gilda accidentally discovers a secret from Borges, a powerful congressman and the Club’s leader, her and her husband’s lives are in grave danger.

A young couple, Pedro and Antônia, have their relationship weakening after meeting Luana. Romance, seduction, fear and anguish from the future are established in this story of liquid love.

After receiving a strange picture postcard, Marina knows there’s nothing else to it but to return to Rio de Janeiro, the beautiful city that here seems threatening and almost enchanting.

A terrified young woman is staring at a disturbing monstrosity, a kind of Pagan spirit that has sprung out of a river. Such is the opening scene of Pajeú, named after the creature, a fantastic character which follows the meanderings of the river and drives the story. Eager to get rid of a nightmare that is infecting her life, Maristela is looking into the story of Pajeú, the now forgotten figure buried in the depths of the city of Fortaleza. The film goes through successive urban transformations leading to the burying of Pajeú, a mystery imbued with supernatural elements.

The animal is in motion, it is impossible to hold it. The bodies vibrate, dance and desire.

Every day Benjamin drives his car through the city streets and intersections.

Erik Satie’s work is at the heart of modern music. However, who was Satie? An elusive genius or a visionary misanthrope? The film tries to sketch an identikit of the musician through his notes and the places he lived in. Musicologists mostly agree in describing Satie’s music as inhabited by voids and holes. The long pauses between one musical passage and the other are musical structures unto themselves; therefore, the filmmakers create a dissonant Satie-like universe in which empty spaces are adjacent to eloquent passages. Like a mysterious flower visible only to the eye that is willing to dance with its charm, the film unfolds little by little through mental associations and creative juxtapositions. There are no answers in the universe inhabited by the ghosts of Satie’s creations. Architectural forms and recollections from desires and acts of creative hubris compete to create a new world, which ultimately is the image of a new and more seductive pleasure principle.