Ariclenes Barroso

Young directors are filming “The Exhibitionist” in the middle of a farm in a paradise-like region. The film poetically investigates the Brazilian soul, with the Amazon as the center of the world, reflecting on existential issues, the right to sexual freedom and individuality.

A young man on leave from prison, his straitlaced brother, his best friend, a rookie cop and a young actress collide over the course of 72 hours.

Tom has just become a father and, along with his wife Elisa, he will learn firsthand how to take care of his daughter. Amid fun and exciting everyday situations, Tom discovers the real meaning of fatherhood. Loosely inspired by the bestseller Dad is Cool, by Marcos Piangers.

Junior, as he’s known, since he’s essentially still a child, seems to be having a tough time getting on in life. He shares cheap lodgings with another fellow and earns money doing strenuous night shifts at a warehouse. It’s no surprise that he lives for football and desperately hangs onto the dream of perhaps every Brazilian kid – to become a famous player. Although he trains hard with his amateur team, he’s not one of the best. He won’t admit to the mounting jealousy he feels as he watches his talented friend doing extremely well on the pitch. What’s more, his prospects don’t look so rosy now that his young girlfriend Carine is pregnant, and he also has to deal with her dominant mother poking her nose in...

Brésil, 1978. La dictature militaire qui est encore en place, commence à montrer des signes d’épuisement. Dans un petit cabaret de banlieue, une troupe d’artistes provoque le pouvoir et la morale établis, à travers leurs spectacles excentriques et performances publiques où débauche, nudité et anarchie sont les symboles de leur lutte acharnée. Quand Fininha, un jeune militaire rencontre Clécio, le leader de la troupe, c’est le coup de foudre immédiat. Seulement Fininha est vite confronté à sa propre conscience : comment faire pour aimer un homme se battant contre l’ordre moral que ses compagnons militaires, et lui-même, doivent faire respecter en menant une répression sans faille.

A restaurant owner going over the edge when an armed robbery is attempted at his establishment. He holds everyone captive at gunpoint – criminals and customers alike – and situations corrode into a nightmare state, guided by manipulation and raw compulsion.

Dans la banlieue de Rio, Irene est la mère infatigable d’une famille de 4 enfants. Sa vie, c’est les siens. Malgré la maison qui tombe en ruine, un mari rêveur et une sœur au bord de la crise de nerfs, Irene garde tout sous contrôle. Jusqu’au jour où son fils Fernando, 17 ans, est recruté par une équipe professionnelle de handball et doit partir s’installer en Europe : le monde d’Irène vacille.

Deux adolescents issus de milieux différents se retrouvent en plein carnaval, après des années de séparation. À cause des erreurs du garçon, ils se cachent dans un char.

With the arrival of the VCR in people's homes, Francisgleydisson is forced to close his beloved Cine Holliudy. This jeopardizes your son's college tuition, now 18 years old. To salvage his situation, he decides to produce an alien movie using the ugliest people in the local population.

Returning early from his vacation after the Carnival period to investigate the murder of a young French tourist, Breno Wanderley is faced with possible reflections of his own history from which he cannot escape. Between Ash Wednesday and post-Carnival Sunday, Breno tries to unravel the crime and sees in his son, also called Breno, a chance to reinvent himself in a broken and sullen city.​

Jorge, bastard child of the infamous Red Light Bandit, decides himself to pursuit a life of crime after meeting with his father, who has been incarcerated for the last 30 years.

From 2000 to 2007, Teat(r)o Oficina Uzyna Uzona worked on the staging of Euclides da Cunha's epic book, Os Sertões, which describes the 19th Century War of Canudos in the Brazilian "sertão"(backlands). The result was the pentalogy of plays: A Terra (2002), O Homem I (2003), O Homem II (2003), A Luta I (2005), and A Luta II (2006). This first play is a carnival opera, the actors are the earth, the vegetation, the wind, the animals, the rivers, the drought. It reveals the most intimate secrets of nature, that also vibrate in the human and trans-human arteries. This work enriched by the experience that the subsequent works brought gains an updated insight into the human interference in the environment. Destructive power is proportional to financial power, and the discussion about the way space gets occupied was brought to the forefront, including the real-estate boom that surrounds today not only Teatro Oficina, but the whole world, now hotter and more arid.

In six decades, Teatro Oficina has done more than revolutionize theatrical language in the country: the aesthetic influence of José Celso Martinez Corrêa's company extends from Tropicalism to the renewal of Brazilian audiovisual languages ​​from the 1960s onwards. The film revisits a story that it involves personalities such as Caetano Veloso, Glauber Rocha, Lina Bo Bardi, Chico Buarque and Zé do Caixão, brings together scenic art, ecology, architecture and sexuality, and mixes art and life in the search for a Brazilian based language.

'Second Call' focuses on the resilience stories of teachers and students in a complex public education system. After some time off from teaching, Lúcia Helena returns to the classroom, now giving night classes to teenagers and adults. Along with other three teachers and the principal, she faces institutional adversities and the lack of appreciation without flinching. The conflicts involve both the faculty and the student body and, in this scenario, Education emerges as a hope, reminding everyone that it is never too late to have a second chance.

While investigating the murder of two young men, reporter Caco Barcellos discovers a group of murderers in ROTA police squad who act with the approval of military justice.