Não Sei Qual Cidade se Passa aos Olhos Dele

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.

Every map has a discourse

videomemoria

Follow all the behind the scenes of Cruzeiro Esporte Clube's conquest and celebration of the Sixth Brazilian Cup. Unpublished images and testimonies of the club's tenth national title.

GêVê

Pra Ver a Banda Passar

Nigim is an ufologist from the city of Passa Tempo in MG who recorded numerous appearances of et’s from the Planet of Jov. But now, it seems like who is being watched is him.

Amadeu

minicômios

Gerais da Pedra

Soberano o Cruzeiro Resplandece

Curral Central

Bateria Meritíssima TABU 2023

Cruzeiro: As crônicas do Bicampeão da América

Foram os peixes a inaugurar a linguagem

In the morning after the night they met, Alana and Laís talk on the phone about what that night meant to each of them.

A touching drama about a love triangle between a young architect, Koroku, and two women, Ranko and Teruko. Ranko comes from a wealthy family and is offering to repay Koroku’s family debts in exchange for marriage, but Koroku is in love with his landlord’s daughter, Teruko. Things are further complicated when the wicked Tsugawa takes interest in both women, for his own marriage.

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.