Aos Pés

Brazil, 1961. In the underground of the Piratini Palace, the governor of Rio Grande do Sul, Leonel Brizola, awaits a bombing by the Brazilian armed forces. The country is on the verge of a civil war, following the resignation of president Jânio Quadros and the movement to keep vice-president João Goulart from taking office. Using the radio transmitter from his improvised bunker, Brizola sets up the Legality movement, to ensure Goulart's right to the presidential chair. Caught in the crossfire, two brothers who are in love with the same woman unite to fight alongside Brizola.

A 15 year-old boy and his friends want to lose their virginity.

Adri is a young woman newly formed arts in college who divides her time between the single friend, employment and therapy. One day she meets Mona, a well-connected architect and money. On the stairs of a building in Porto Alegre, a passion born of two very different people.

In a devastated city, a night watchman has lost his identity. A foreign woman contacts him, claiming to have found it.

After retiring in 2022, Squel Jorgea decided to return to Rio’s Carnival. A flag-bearer for over twenty years, she began her career at Grande Rio, where she danced for eleven seasons and became the first to represent both Mangueira and Portela, the two most traditional samba schools. After navigating single motherhood, she has rediscovered the physicality, movement, and strength that established her as a leading figure in the art form; she now dances a theme inspired by the book "Um Defeito de Cor", a son’s letter to his enslaved mother, a narrative that deeply resonates with her own life story. Between the silence and the beat of the drums, her dance transforms into a ritual, an act of resistance, and a celebration of Afro-Brazilian culture.

Grupo de Bagé was an artistic movement that emerged in Rio Grande do Sul in the 1940s, led by painters and engravers Glênio Bianchetti, Glauco Rodrigues, Carlos Scliar and Danúbio Gonçalves. Linked to Taller de Gráfica Popular do México and the Communist Party, they turned printmaking into a way of popularizing art, with realistic themes and social denunciation. The documentary reveals the appropriation of these artists of the brazilian arts, from the pampas in Rio Grande do Sul to the palaces of Brasília.

A forgotten act of cultural diplomacy: the presentation of Brazilian modernist art at the Royal Academy in London in 1944, at the height of World War II.