Mario Bortolotto

Two businessmen hire a hitman to kill their third partner and are then blackmailed by the hitman as he takes over their company.

On mythical Augusta Street, in San Paulo (Brazil), a journalist who seeks answers for his angst dives into the world of prostitution and neo-Shamanism rituals.

In a mosaic of human relationships and day-to-day situations, men and women of different ages feel a pressing need to reinvent themselves. As they cross each other's paths, they all are at a turning point in their lives.

Jorge, bastard child of the infamous Red Light Bandit, decides himself to pursuit a life of crime after meeting with his father, who has been incarcerated for the last 30 years.

A 12 year old boy dreams of becoming a goalkeeper for the national Brazilian soccer team, but first he has to overcome his own fears to convince his team boys club and his father who is against competition.

A document of one of the greatest cultural events of Latin America in an innovative way, the film mixes documentary and fiction to pay homage to the artists of the contemporary Brazilian theater, who come together in the city of São Paulo every year to celebrate the coming of the spring. The fictional storyline shows the shooting of the documentary which is directed by a foreigner director and his Brazilian second-rate crew. They join forces to make a successful film based on the event.

A group of playboys organizes the last party of the year in a slum before the change in weather. And for this night, beyond the usual drugs, alcohol and sex, they will receive special guests: an addict that uses and is used by the group, a country singer who was raised around the slum, a strange security guard and the owner of the place.

Young directors are filming “The Exhibitionist” in the middle of a farm in a paradise-like region. The film poetically investigates the Brazilian soul, with the Amazon as the center of the world, reflecting on existential issues, the right to sexual freedom and individuality.

Borrasca

Nobody dares to break the rules, for fear of the persecution of the Christian Command, until a woman, born in this era of repression of pleasure, meets the last man who lived the period when hedonism was still could be a style of viable life.

A film in which dream and reality intertwine, A Moça do Calendário tells the story of inácio, 40, married, without a permanent job. Ex-street sweeper, he works as a mechanic at Barato da Pesada, where he dreams of the calendar girl.

Elias sees his world threatened when his ex-wife, one recovering junkie, asks for the guard of their son. Fito is in desperation for losing his father because of Elias. Isis, who hides in a vagabond hotel, can be the salvation for Fito and Elias.

There are three friends in their fifties who, unable to have conventional relations with women, always call girls to call them to keep them company. They are the subjects who were born in the 60s, with all the explosions of rebellion and the search for freedom.

A projectionist at a porn cinema in downtown São Paulo, makes his first film in Super8, an essay about the failure of a lifetime. The scenes from the films you watched intersect with the new images they capture, fiction and reality blending together, weaving a bridge between the past and the present.

This film seeks to rescue the role of filmmaker Neville D'Almeida by using many rare images, numerous interviews, vast archival and audiovisual material.

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.

A espiritualidade e a sinuca