Malu — a mercurial, unemployed actress living with her conservative mother in a precarious house in a Rio de Janeiro slum — tries to deal with her strained relationship with her own adult daughter while surviving on memories of her glorious artistic past.
Documentary on poor people living in a slum in Rio de Janeiro, on the occasion of New Year's Eve of 1999.
Rachel is a girl, adopted by an upper middle class family, who rebelled at 17 and left her family and studies at a traditional college in Sao Paulo to become a sexy call girl. Shortly after starting work, she decided to write a blog about her experiences. Since some clients thought she looked like a surfer she adopted the name "Surfistinha" which means little surfer girl.
On the outskirts of Rio de Janeiro, Irene has only a few days to overcome her anxiety and renew her strength before sending her eldest son out into the world.
A phenomenon of popularity in the 1960s, Wilson Simonal saw his meteoric career fall apart when he was accused of collaborating with the Brazilian military dictatorship.
Thiago Soares is a young man from the suburbs of Rio de Janeiro who leaves hip hop behind and embarks on the world of classical ballet. His story takes on unexpected turns through his troubled relationship with his mentor, the Cuban Dino Carrera, who improves Thiago's talent until he reaches stardom by becoming the principal dancer of the Royal Ballet in London.
This documentary highlights the evolution of Brazil's Circo Voador venue from homespun artists' performance space to national cultural institution.
Marcela’s world becomes strange and unfamiliar after her sister Rina dies. She feels lost in her own house, and her relationship with her husband and children seems to suffer. But when Nacho, a young friend of her daughter’s, unexpectedly drops by, she starts to talk and walk with him. Gradually Marcela begins to have conversations with relatives from another dimension.
In Rio de Janeiro, at the end of the millennium, a group of mostly middle-aged friends share their lives and experiences with each other.
The path of five bullets and the people they pass during a shootout in a square. Anyone can die.
Dé, Adrianim and Martins are three black teenagers from Chatuba, Rio de Janeiro. When Dé receives the news that Almerinda, his grandmother, is in the terminal phase of Alzheimer's disease, he decides to enjoy the last days of her life together with his two best friends.
Manuela (Nathalia Dill) is a beach volleyball teacher, determined, objective and self-confident, always ready for fight. She never guided her happiness to a relationship and never planned to get married. But one day, an unexpected encounter takes place and she meets Leo (Marcos Veras), a successful, charismatic, extremely seductive, although very romantic, pediatrician. The two fall in love and start living a life together, but a disagreement cause their separation. During the fights and moments of nostalgia, and with the help of the manipulative Esther (Totia Meirelles), Manuela's mother, they will find out why they are inseparable.
After being released from prison, Dr. Nise da Silveira is back at work in a psychiatric hospital on the outskirts of Rio de Janeiro where she refuses to employ the new and violent electroshock in the treatment of schizophrenics. Ridiculed by doctors, she is forced to take on the abandoned Sector for Occupational Therapy, where she would start a revolution through paintings, animals and love.
The story of Júlio Santana, a professional killer who was responsible for almost 500 hundred murders in Brazil.
Rio de Janeiro, in the period in which the Police Pacification Units (PPUs) were beginning to be deployed in the city. Edna (Lilia Cabral) is the mother of Julio (Pedro Nercessian) and Silvio (Fiuk). One day she wakes up desperate to see that Julio just disappeared!
Documentary about the Portuguese language, and people who speak it around the world.
How much theatricality is there in an interview-based documentary? On one side, someone answers. On the other side, someone asks questions – usually away from the camera eyes. But what would happen if also filmed the interviewers? And if the respondent also had the right to ask? And if the parties never met? What if instead of a glimpse into someone’s life, we had several? ‘Seven visits’ is a film about questions. And about the act of being interested in the other.
