Maria Bethânia: Dentro do Mar Tem Rio

Shot in 1971 during Gal Costa's famous concert "Gal Fa-tal" in Rio de Janeiro's Sucata Nightclub, Ivan Cardoso's eponymous Super-8 short film shows the singer both in and off stage, interlapsed with scenes from Cardoso's "Nosferato no Brasil".

Laerte, a talented violinist who after failing to be admitted into the OSESP Orchestra is forced to give music classes to teenagers in a public school at Heliopolis. His path is full of difficulties, but the transforming power of music and the friendship arising between the teacher and the students open the door into a new world.

Zeca Baleiro - Canta Zé Ramalho Chão de Giz Ao Vivo

Raimundo Fagner - Ao Vivo

Djavan - Ária Ao Vivo

New work by singer Samuel Mariano, recorded live at the PE 60 Convention Center - Cabo de Santo Agostinho - PE.

Set in Rio de Janeiro's most notorious favelas, the underprivileged youth share their perspective on the extremely popular, pornographic favela funk music with respect to their personal (love) lives, situated in a lawless subculture of drug gangs, machismo, violence and sex.

Jerry is a tutor at an orphanage. On the first day of vacation, the boys go to the beach with Professor Teobaldo and find a skeleton and a treasure map. Word spreads and a rush for gold begins. On the one hand, Jerry and Neyde, television colleagues; on the other, the director of the station, Indalécio, and his lover Aphrodite; finally, the evil Rock Trombada, in the company of scientist Bertini and Daniel. On Treasure Island, the three camps promote mutual sabotage. After many confusions, Trombada flees with the treasure to the ship's cemetery but they are surrounded by the boys and Indalécio. It's the final war. But it is Jerry who will take the wealth in order to improve the situation at the orphanage.

Nothing Like Before delves into the creation of the Clube da Esquina Album (Brazil, 1972). Considered by many music critics one of the best albums of all time, it presented to the world musicians like Milton Nascimento, Lô Borges, Toninho Horta, Beto Guedes and Wagner Tiso.

"Lobão - Não Há Estilo Sem Fracasso" investigates the artistic career of Lobão, one of the most famous musicians of brazilian rock in the 80s. From some interviews with people such as Edgard Scandurra, Liminha and Marcelo Sussekind, this short movie shows various points of view about music industry and it presents hits of Lobão such as "Das Tripas Coração" and "Mal de Amor".

Bonde Do Tigrão - O Baile Todo

The film is an unprecedented and exclusive testimonial of Maria Bethânia from director and screenwriter Carlos Jardim, interspersed with rare footage of rehearsals and concerts by the singer throughout her 57-year career. Actress Fernanda Montenegro narrates five texts by authors such as Ferreira Gullar and Caio Fernando Abreu about Bethânia's importance on the Brazilian cultural scene.

Chico Buarque: Caravanas – Ao Vivo

Tete Barilove is dead, but her body is nowhere to be found. Beni, a longtime fan, finds clues that could lead her to the truth about Brazil's most famous 90s singer.

Born in Arcoverde, in the backlands of Pernambuco, the lonely boy who was raised by his father after his mother left, João Silva soon discovered a passion for the northeastern rhythms, such as the baião, xote and forró. He went to Rio de Janeiro when he was still a little boy to meet the idol Luiz Gonzaga. Both men, who were not very fond of each other when they first met, became not only great friends but also partners in many hits like “Doutor do Baião”, “Nem se Despediu de Mim” and “Pagode Russo”.

Time Will Burn

Brazilian singer Rita Lee narrates moments about her life, from her childhood to the meeting with Roberto de Carvalho. The documentary is permeated with excerpts from the singer's concerts, with songs sung entirely.

Rita Lee - Biograffiti: Baila Comigo

Rita Lee - Biograffiti: Cor de Rosa Choque

The cinema of Pernambuco is considered one of the most complex components of Brazilian cinema, particularly for its potency and creative style. The presence of women in filmmaking seldom holds the same historical notoriety as that of men, and the Pernambuco scene is no exception. In the context of "Amor, Plástico e Barulho" (Love, Plastic, and Noise), we find a film that serves as a testament to the marginalization of women in the creative industry, intertwining themes of consumption and the production of brega music. Hence, we use "Feminino e Barulho" (Feminine and Noise) as a means to share what we've learned. Renata Pinheiro has inspired us to craft a narrative that gives voice to those who need to be heard. We are here to showcase a glimpse of them and what they represent. "Feminino e Barulho" is a short film about love, femininity, sisterhood, and empowerment.