Cabeça de Bode

Filhos do caos

O Inventor do Sertão

Ave Maria ou Mãe dos Sertanejos

This hybrid documentary, crafted for the Psychosocial Processes II course at UNIRIOS, intricately weaves together contemporary perceptions of female aging in the Alto Sertão of Alagoas. Through the eyes and lived experiences of its central character, the film delves into the nuanced expressions of womanhood as it intertwines with the passage of time, offering an intimate exploration of identity and resilience in a richly textured cultural landscape.

A woman haunted by grief and religious trauma finds her solitude broken by a stranger, but as night descends, so does something far older, and far more dangerous than she imagined.

In a small house, Tereza faces the realization of an ancient prophecy on her eldest son's 20th birthday.

Lost in the middle of nowhere, a pregnant Woman and a hopeful Man walk in search of Getting There, an unknown place where Hope reigns and the days are good. The Death, always lurking, tries to change the paths of the wanderers and transform their dreams into hopelessness. A seed given by Hope can change the course of the retreatants and take them to the long-awaited place of prosperity.

Sertão Fantástico

Umbilina e Sua Grande Rival

Sertão Bruto

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.

The origin story behind one of Broadway's most beloved musicals, Fiddler on The Roof, and its creative roots in early 1960s New York, when "tradition" was on the wane as gender roles, sexuality, race relations and religion were evolving.

Move over Sports Illustrated, now there's a new swimsuit video on the scene featuring seven gorgeous supermodels in one of the most exotic locales on the planet. Join host Rachel Perry of VH1 for a trip to the protected South Caribbean paradise of Mustique for a party that truly puts Maxim's sports-related counterpart to shame. Of course there's more than just bikini-clad beauties posing on the beaches though, and after jumping into bed with host Perry for a series of revealing interviews with the models, viewers can follow troublemaking Maxim food-tester Hiroki as he sneaks onto the island for a little naught fun and take a guided tour of Maxim owner Felix Dennis' sprawling Mandalay mansion.

Paris to Pittsburgh brings to life the impassioned efforts of individuals who are battling the most severe threats of climate change in their own backyards. Set against the national debate over the United States' energy future - and the Trump administration's explosive decision to exit the Paris Climate Agreement - the film captures what's at stake for communities around the country and the inspiring ways Americans are responding.

Ljudmila Ignatenko tells the story of her and her husband Vasilij, a firefighter who was one of the victims of the Chernobyl disaster in 1986.