O Filme da Minha Vida

In New York City, an illegal immigrant gets into trouble because of his relationship with a self-destructive prostitute.

The true story of the boy who became famous when he was cast for the main part on the Brazilian film Pixote: A Lei do Mais Fraco (1981). After the film was over, he tried to work as an actor on other projects, with little success. As time went by, he got involved with crime.

Luiza is an architect who just got out of a ruinous relationship. Gabriel is a biologist and he has finished a long marriage with divorce. When they both meet, chances that they can do well together are not that big. But they will try to, even if their friends Barata (a convict bachelor totally skeptical when it comes to love) and Marta (a mathematic analyst who wishes that human relations were just as exact as numbers are) think otherwise.

Filmed over a five-year period, Chronically Unfeasible dissects Brazilian problems, using six people who meet in a restaurant in São Paulo as models to illustrate political, sociological and economic disparities between Brazil's upper and lower classes.

This is the story of the activism of Genivaldo, a family farmer from the semi-arid region of Alagoas. A lay member of the Catholic Church, he once emigrated but failed to adapt to life as a construction laborer; he returned to his hometown, convinced that he belonged there. He was active in the Landless Workers' Movement (MST), participating in land occupations, and ran unsuccessfully for mayor of Inhapi representing the Workers' Party (PT). He founded an organization dedicated to strengthening family farming, staying true to his calling as a political activist, and is now independent, operating outside of churches, movements, and political parties.

Juca, a black kid, sees his friends and his mother being hit by his stepfather, without being able to do anything against it, but when he knows that he is the great-grandson of João Cândido, the leader of the sailors rebellion against the chibata hits adopted by Brazilian Navy till 1910, he takes an extreme attitude towards changing the course of his life.

The Santa Teresa tram in images from the 1940s and 1960s in downtown Rio de Janeiro places the viewer in a space and time constructed through sounds inserted in these images.

The documentary offers an overview on the transformations in the Brazilian socioeconomic process from the 30s to present day, with a group of economists and historians giving their commentary about the topics.