Aury Porto

Ten stories or one. Ten moments in the timeline: 1972, 1999, 1550, 2083, 1891, 2012, 1618 – and the same reality: violence giving the final face to relations in brazil. a slave revolt on a coffee plantation, the torture of an indian, the kidnapping of an ambassador, jews hiding from the inquisition, a tortured woman who sees her torturer in the audience to which she tells the crime committed by him, father and son talking during the second war, a widow who lost everything in “ensiling crisis” and is forced to marry and lose her freedom.

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...

A Guarani girl begins to question her place in the world.

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.

Été 1996, dans le petit village de Garça Torta, au cœur du Nordeste Brésilien, Tamara profite de ses dernières vacances avant d’entrer en classe préparatoire universitaire. Un jour, elle entend parler d’une fille surnommée “Sans Cœur” en raison de la cicatrice qui traverse sa poitrine. Tamara va ressentir une attirance immédiate pour cette mystérieuse fille, qui va grandir tout au long de l’été…

“Nobody Leaves Alive” by André Ristum is shot in beautiful but also distancing black and white. Looking at the Venice line-up, this seems to be a trend this year among the maestros of cinema. The film is inspired by true events that took place in the last century in the “Colonia” hospital in Brazil. Whoever didn’t fit the standards of society, or their family’s perception of it, was locked away, tortured, and killed. There were altogether more than 60,000 victims. Hope dies last, and some of the inmates don’t give up the fight. We’re reminded of film classics such as “One Flew Over the Cookoo’s Nest” or “Alcatraz”.

A detective is hired by a mysterious woman to find her missing husband, a master of disguises, and important industry executive.

A documentarist is convinced by her son to travel to Brazil's Northeast so she can throw his dad ashes at São Francisco river.

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.

Décidés à vacciner les habitants de la région reculée du Pantanal contre le virus Zika, trois médecins sont confrontés à un étrange guérisseur religieux et ses adeptes.

Donatela and Flora, two friends who became rivals. One of them committed a homicide and pretends to be innocent. There are two versions for the same story. Who, after all, is telling the truth? Donatela or Flora?

Roger Sadala est un médecin publiquement respecté et renommé dans le domaine de la fécondation humaine, qui cache un autre visage sombre derrière une fausse intégrité. Lorsque sa réceptionniste Daiane brise le silence et le dénonce pour harcèlement, plusieurs autres victimes se joignent à elle avec des histoires similaires, notamment des abus sexuels. Qui donne la parole aux victimes est la journaliste Mira, qui compile les histoires racontées dans chaque épisode par d'autres femmes : Stela, Eugênia, Maria José et Vera.