Julio Adrião

João, mounted on his horse Cruzeiro, and in the company of a wanderer named Tahiel, enters a large city in northeastern Brazil to face the one who took his lands and ended up with his family.

After being released from prison, Dr. Nise da Silveira is back at work in a psychiatric hospital on the outskirts of Rio de Janeiro where she refuses to employ the new and violent electroshock in the treatment of schizophrenics. Ridiculed by doctors, she is forced to take on the abandoned Sector for Occupational Therapy, where she would start a revolution through paintings, animals and love.

At the same time that Elisa says goodbye to Heliomar, she meets young Michel.

When bandits take the town of Sertânia, Antão gets shot, arrested, and left to die. Bleeding out, Antão's delirious mind begins to recall the events that led up to the incident through a sequence of increasingly unreliable fever dreams.

A new look at the poem, "Christabel" (1816), by the British S. T. Coleridge. The only daughter of a rural worker, Christabel meets Geraldine, a mysterious woman who claims to have been attacked by men and needs help. In her innocence and purity, Christabel welcomes Geraldine into her father's house. From then on, the two protagonists relate in a way that Geraldine has a great influence on Christabel, destabilizing her convictions and promoting rupture of the traditions, but that bring a feeling of passion and freedom never experienced by her. In this adaptation, instead of England, the history takes place in the rural zone, in the middle of the closed Goian; The character Geraldine is a mysterious, free and independent woman who appears to swing the established structure and pre-framed relationships, which weigh on Christabel and her father.

After a shooting assignment, Henrique is mugged by two armed motor-bikers who steal his camera and speed off. Seconds later, he watches both get hit by a pickup truck driven by a self-appointed avenger, someone weary of feeling defenseless against the urban violence, and who decided to take action. Henrique recovers his stolen equipment and leaves, feeling avenged. But he goes back to find the memory card, with the photos, lost during the crash. From that moment, he is trapped in a situation where he is now the criminal for failing to rescue a victim, who had been his aggressor. Going from the murder scene to the police station, and then to the emergency ward of the public hospital, he attempts to clear himself.

Manuel is a crafty cowboy and swindler who lives to serve his two great loves – his fiancée Das Dô, and his mule Beija-fulô – and his business of selling unsound horses to suckers. The killer Targino arrives in town looking for a horse. Thinking that he is being clever, Manuel sells a sick horse to the assassin. Targino swears that he is going to kill Manuel, and dishonor Das Dô’s reputation after he’s dead. Under pressure, Manuel calls on the magic of Toniquinho das Pedras to protect his body. However, the witchdoctor demands the mule Beija-fulô as payment. Manuel, sees himself in the dilemma between having to choose between his fiancée Das Dô, and the mule, Beija-fulô.

One man, two lovers: Ana and Anna, living in identical apartments. Paranoia is the name of the game in this hallucinatory.

In a Brazilian coastal village where everything seems motionless, Clarice grasps her life in a single day, unlike those she meets and who are living this day like any other. She tries to understand her obscure reality and the destiny of the people around her in a circular time that haunts and disorients.

The Man Who Killed John Wayne

Adyr

Carlos is a man doomed by restless memories, that meets with himself, in a time warp. Young Carlos faces the forgetfulness of old Carlos, who doesn't recognize his own appearance. They get a package. But the package seems odd. The knot that ties, the smell, the handwriting on the envelope: this could only be sent by his father, Ernesto, who has been dead for many years. A father who always created unusual situations. In this time warp, Carlos is split in two: one Carlos remembers and the other forgets the moments he spent with his father.

After a bloody invasion of the BOPE in the High-Security Penitentiary Bangu 1 in Rio de Janeiro to control a rebellion of interns, the Lieutenant-Colonel Roberto Nascimento and the second in command Captain André Matias are accused by the Human Right Aids member Diogo Fraga of execution of prisoners. Matias is transferred to the corrupted Military Police and Nascimento is exonerated from the BOPE by the Governor.

When a teacher takes one of her students to his home in the slum, she discovers that drug traffickers have killed the child's parents and are looking for the boy.

How Do You See Me? is a Brazilian documentary feature that entwines both experienced actors and beginners to explore the hardships and the happiness that are inherent to the job when detached from the glam and glitz of the gossip industry, creating a diverse and comprehensive mosaic of what it means to be an actor in Brazil, a country so full of contradictions. The film brings forward a reality that the masses usually don't get to know: the men and women moved by a deep passion for acting and touching people. With Julio Adrião, Matheus Nachtergaele, José Celso Martinez, Cássia Kis, Nanda Costa, Babu Santana, Luciano Vidigal and Letícia Sabatella, among others.

Two moments in the life of Pedro. First in 1997, he lives with his family in Rio de Janeiro and works at Gás do Brasil, a company that is undergoing a tough restructuring process, with layoffs and early retirements. Soon, privatization will come. In the second moment, two years later, Pedro lives retired in his hometown Barbosa, in the company of his childhood memories, his dog and his girlfriend. By interweaving these two moments in time, we put ourselves in Pedro's skin and experience his fears and delights.