Marcos Contreras

In Porto Alegre, the unemployed Ciro has a dull life in a simple apartment with a nameless stray dog that he had found on the streets. Ciro is supported by his parents and works every now and then in translation of Russian. When he meets the aspirant actress Marcela, who dreams on traveling to other places, they immediately fall in love for each other. However, Marcela has a lymphoma and travels for a treatment, and alone Marcelo becomes depressed and returns to his parents home.

A Última Estrada da Praia

Camel on the Tarmac is made of two movements: the walking and the feeling. Walking under the sky of platinum winter; and on the asphalt. Feeling under the silence of the journey; relive the emotional memories. Peter walks and feel; walks and crosses the border between sister countries, Brazil and Uruguay. Follows in search of man who, like him, live recluse addition in their own digressions: his father.

A young man wearing a gas mask wanders in an grey and empty city.

Ciba (Rodrigo Santoro) is an independent investigator who works together with the police. A typical fallible hero who struggles with strong personal issues, while preventing crime and injustice. His partner, Deputy Ulisses (Luis Miranda), is a well-meaning professional who recognizes the difficulty in securing his function using only common artifacts, and Ciba's unofficial contact is of utmost importance for the progress of his investigations.

Anita an ex junkie moves with her husband to an isolated wind blown coastal town hoping to leave her out of control drug fueled past behind her. Her laddish, bad tempered husband is not sensitive to Anita's emotional needs and her new life does not seem to fulfill her. In her utter isolation in the misty lonely endless beach she falls victim to terrifying demoniac visions from which she will need to liberate herself before her real new life can begins.

A film director faces a complex situation in the production of his new film: Laerte, the protagonist of the story, begins to renegade her former characters, the Pirates of the Tietê. Lost in this situation and determined to be faithful to his whims after seeing the approach of death, the director decides to tell his drama mixing his persona with the story, creating a chaotic labyrinth between fiction and real life.

Stênio, the nightshifter of a morgue, has the ability to communicate with the cadavers that are brought to him every night.

The sierras of southern Brazil, 1963. The son of an French man and a Brazilian woman, Tony is a young man with a profound love of cinema and poetry. After graduating from college he returns to his small town in rural Brazil, to find out that his father had left for good, back to France. Tony then looks for the company of his fathers friends in search of information and references of a lost male role-model. He becomes a school teacher and a male figure to kids, in an attempt to provide them with something he lacks himself. A series of developments lead him to a surprising final lead on his fathers' whereabouts and reasons for leaving.

Brazil, 1961. In the underground of the Piratini Palace, the governor of Rio Grande do Sul, Leonel Brizola, awaits a bombing by the Brazilian armed forces. The country is on the verge of a civil war, following the resignation of president Jânio Quadros and the movement to keep vice-president João Goulart from taking office. Using the radio transmitter from his improvised bunker, Brizola sets up the Legality movement, to ensure Goulart's right to the presidential chair. Caught in the crossfire, two brothers who are in love with the same woman unite to fight alongside Brizola.

Written in 1625 by the British playwright Ben Jonson, the play “The Staple of News” provides a historic root for this discussion about the role of the press in modern day Brazil. Journalists of several generations discuss the dilemmas of the selection and focus of their subjects, the resistance of the media in accepting itself as a political agent, the inevitability of interpretation as there are no hard facts in nature, and above all the search for an always complex balance between credibility and the public’s growing demand for news.

Daniel has a misunderstanding with a witch and recieves an interesting curse;

Ernesto, a seventy-eight-year-old Uruguayan photographer living in Brazil, faces the limitations of old age. One day, Bia storms into his life. And Ernesto realizes that aging can be about rejuvenating with the company of a girl.

Pizza de Abacaxi e O Fim do Mundo

1961

40 years after fighting for what he thought was new and revolutionary, a former anonymous militant against the now fallen Brazilian dictatorship is accused of being conservative, antiquated and anachronistic by his own son.