Thaís de Almeida Prado

New York City attracts Jane and Carlos, like so many others, with the promise of a better life. That's why they've left their home country, Brazil. Yet as immigrants, they don't have all the opportunities that the American dream implies. Their search for a new and better life represents that of all the immigrants who dare to attempt a fresh start in another country. It is also the story of changes taking place in United States and Brazil. The fictional story about Jane and Carlos in this experimental film is intertwined with the personal experiences of the film team, which reports in interspersed episodes about their own immigration and that of others they've researched.

Marcelo, a 40-year-old dandy, has a memory like no other. Monologuing between coffee and hookups, he holds court on a wide range of topics: his status, his Catholic grandmother, and his unusual sexual fantasies. At times, he takes himself for Genghis Khan or poet-philosopher Novalis.

After theirs father's death, Carl and Ana decide to go to Germany to rescue his unknown story. There, not only will they discover familiar tracks, they will confront and recognize themselves, to move forward in their lives.

Essay on Eva Nil, the first star of Brazilian cinema.

Flávio loses his sexual appetite editing porn videos. José, his husband, is trying to create an equation that determines when humans will colonize Mars. Flávio is focused on a more internal journey, and José is trying to find ways to bring Flávio's lust back. Meanwhile, Hypnos, god of sleep and youtuber, tries to give people back the art of rest.

T H R E E S O M E is a collaborative film performance developed during the confinement between John Herman (Cologne, Germany), Thaís Almeida Prado aka Filmes de Infiltração (São Paulo, Brazil) and Va-Bene Elikem Fiatsi aka crazinisT artisT (Kumasi, Ghana).

The film is a poetic testimony of these women's relationship with their city: being foreigners, discovering their roots, trying to create art, experiencing urban violence, dealing with space, architecture and movement.

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.

Cucumber Knife