O cavalo do rei

Recently divorced, Roberta is living her best life, until she discovers that someone has turned her biggest secret into the plot of a soap opera — where she is the villain.

Guitarist Lanny Gordin was one of the fundamental characters in the transformation of Brazilian music from the 1960s onwards. He electrified Gal Costa, Gilberto Gil, Caetano Veloso and Jards Macalé, among others. Lanny reveals his libertarian process of composition and current thinking, embarking on an unusual odyssey through China, his birthplace, and Brazil, the country where he lives.

A political mockumentary that never talks about politics. The film follows Rose, a "professional dog walker" who has recently occupied a vacant house which now she calls home: the realization of a dream. While claiming to take care of the property until the return of the landlady, the new "tenant" creates intimacy with the house develops a fascination for the absent woman.

Morro do Castelo was chosen by the Portuguese to found Rio de Janeiro city. It was an important historical and architectural reference. Despite its relevance, the hill was destroyed by urban reforms aimed to promote real state speculation.

Down on his luck and recently divorced, Paulo has begun driving a cab around Rio, hoping he’ll make enough to send his ex money to support their ten-year-old son. He mostly works nights, so in addition to his encounters with a colourful variety of customers, colleagues, cops and others, he must cope with loneliness, fatigue and new faces in his life.

A meeting with music, composer, poet and sociologist Negro Léo. He gives his thoughts on the development of music, Brazilian and international politics, the rise of neo-pentecostal evangelical churches and obsession over social media, in parallel with his own life story.

In 1978, young Black people gathered at CECAN in São Paulo and created Cadernos Negros. The publication has featured over 300 authors. In 1980, the group formed the Quilombhoje collective. Since then, the series has alternated between poetry and short stories, expanding the visibility of Black Brazilian literature.

Earth is just a place. But it's not even a normal place, as most of the cosmos is empty. Normal is the vast and immense void, cold and universal, the eternal night of space in comparison with which the stars, its planets, already appear as something painfully rare and precious. If we were dropped at random into the cosmos, the probability that we would appear on the planet or even in its vicinity would be less than a part of a billion, a billion, a billion.

The gun pointed at the head is a delirium that expands into disorderly controlled chaos. “He Who Saw the Abyss” by Gregorio Gananian and Negro Leo, is like a car that enters the curve at 300km/h, but slowly. In an experimental whirlwind, moving between a noisy sound and an almost idyllic musicality, the film is structured out of a pile of images that seem as intimate as they are delirious, accelerating into a trance that is fragmented by a montage, signed by João Dumans and Gregorio Gananian, who strive to articulate an intense experience on the big screen.

An experimental trip about Brazil after H.O.

Negro Leo, recording session.

A film about love, also a memoir, about the trip made in the 1970s to Morocco by Jarda Ícone, an artist, sexologist, and octogenarian rocker, as she defines herself, and Lírio Terron, a human rights activist. In fact, a journey that is not over in their lives. Jarda Icon teaches classes on how women can obtain their own orgasm. With her group of disciples and friends Ana Brasil, Sheyla Fernanda, Caroline Sylvie and Lakshmi she develops self-sustainable feminist and artistic projects. The film is political, but not at all politicized in the traditional sense. It is an ode to the underground and counterculture movements, it is a hymn to freedom, and its title is also a tribute to Oswald d Andrade, one of the main names in Brazilian modernism.