A Terra E O Tempo - Vozes Do Quilombo

The documentary "Caixa D'água: Qui-lombo is this?" It reports, through testimonies from former residents and photographic collections, the importance in the cultural and historical scope of the Getúlio Vargas neighborhood located in Aracaju, capital of Sergipe. Emphasis is placed on black culture and the presence of black slaves and their descendants, with the rescue of issues related to their origin, orality, geographical location and awareness of their racial identity, showing that, although this community exists in an urban area, it still maintains many aspects of the quilombo life of the former black slaves in Brazil.

Documentary realized in the Quilombola community Serrote do Gado Brabo, Pernambuco. Here are their stories and struggles.

Essa Terra é o Meu Quilombo

Preciso Te Contar Uma Coisa

As Cores do Meu Reisado

Tempus

This short film is an in-depth exploration of a young adult's personal relationship with his inner child, transcending the limitations of verbal dialogue to communicate through powerful visual elements. The narrative develops like cinematographic poetry, revealing the complexity of emotional experiences that often remained to verbal expression. Through these visual sequences we are taken on an introspective journey that explores the recesses of the creative mind and the complexities of emotional experiences that often remain inarticulate.

A black family tries to defend their land against invaders but gets caught between a mischievous witch and a tortured spirit eager for revenge.

Tempo, O Curta.

TEMPO

Miguel and his friend build what could be the first time machine. The device is designed to send a small object a few minutes into the future—but before the final test, another object unexpectedly arrives from the future. The two young scientists disagree and must face the dilemma of whether to send the artifact back or keep it in the present, in order to prevent a quantum and personal catastrophe.

Anima Kronos

Fragmentos

Já Passou...

Documentary follows Gabriel Yorke, the actor turned Berkeley professor, who, after 25 years of silence, is finally willing to speak about his participation in the controversial film Cannibal Holocaust (1980).

This feature-length documentary traces the journey of the Haisla people to reclaim the G'psgolox totem pole that went missing from their British Columbia village in 1929. The fate of the 19th century traditional mortuary pole remained unknown for over 60 years until it was discovered in a Stockholm museum where it is considered state property by the Swedish government. Director Gil Cardinal combines interviews, striking imagery and rare footage of master carvers to raise questions about ownership and the meaning of Aboriginal objects held in museums.

This pioneering documentary film depicts the lives of the indigenous Inuit people of Canada's northern Quebec region. Although the production contains some fictional elements, it vividly shows how its resourceful subjects survive in such a harsh climate, revealing how they construct their igloo homes and find food by hunting and fishing. The film also captures the beautiful, if unforgiving, frozen landscape of the Great White North, far removed from conventional civilization.

Commissioned to make a propaganda film about the 1936 Olympic Games in Germany, director Leni Riefenstahl created a celebration of the human form. This first half of her two-part film opens with a renowned introduction that compares modern Olympians to classical Greek heroes, then goes on to provide thrilling in-the-moment coverage of some of the games' most celebrated moments, including African-American athlete Jesse Owens winning a then-unprecedented four gold medals.

Commissioned to make a propaganda film about the 1936 Olympic Games in Germany, director Leni Riefenstahl created a celebration of the human form. Where the two-part epic's first half, Festival of the Nations, focused on the international aspects of the 1936 Olympic Games held in Berlin, part two, The Festival of Beauty, concentrates on individual athletes such as equestrians, gymnasts, and swimmers, climaxing with American Glenn Morris' performance in the decathalon and the games' majestic closing ceremonies.

Working men and women leave through the main gate of the Lumière factory in Lyon, France. Filmed on 22 March 1895, it is often referred to as the first real motion picture ever made, although Louis Le Prince's 1888 Roundhay Garden Scene pre-dated it by seven years. Three separate versions of this film exist, which differ from one another in numerous ways. The first version features a carriage drawn by one horse, while in the second version the carriage is drawn by two horses, and there is no carriage at all in the third version. The clothing style is also different between the three versions, demonstrating the different seasons in which each was filmed. This film was made in the 35 mm format with an aspect ratio of 1.33:1, and at a speed of 16 frames per second. At that rate, the 17 meters of film length provided a duration of 46 seconds, holding a total of 800 frames.