Tiago Mata Machado

The Century (O Século) is both the documentary of a performance and the documentary of an allegory. Without a human figure in view, scraps, debris, and junk are thrown dramatically from one side of an alley to the other, and then a volley begins from the other side.

At same time as it dives into excess and violence of Brazilian reality, Curra Urbana tri to insert itself in anti ilusionist modern aesthetic reinstarting a dialogue from Jean Luc Godard and some of later Brazilian apropriators especially those of Cinema Marginal.

Two air currents create abstract shapes on rows of powder. A subtle and yet powerful interpretation of sex and maybe love.

A tale of love and death in a world where the state of exception has become the rule and the last days of humanity never end.

Living in a temporary autonomous zone, the residents spend their days dealing with small lunatic plots, quixotesque farces and rimbaudian delusions.

A family is sitting amid what is left of their home, their belongings piled up in the open air without shelter, while bulldozers shift piles of raw material with relentless aggression. A few moments later, members of the family walk away with whatever small items they can carry on their backs, while a worker prepares the ground for the erecting of a barbed-wire fence. The persistent sound of cargo trains haunts the visually stunning but despoiled landscape in a reminder of how money never sleeps.

The Century (O Século) is both the documentary of a performance and the documentary of an allegory. Without a human figure in view, scraps, debris, and junk are thrown dramatically from one side of an alley to the other, and then a volley begins from the other side.

At same time as it dives into excess and violence of Brazilian reality, Curra Urbana tri to insert itself in anti ilusionist modern aesthetic reinstarting a dialogue from Jean Luc Godard and some of later Brazilian apropriators especially those of Cinema Marginal.

Two air currents create abstract shapes on rows of powder. A subtle and yet powerful interpretation of sex and maybe love.

A tale of love and death in a world where the state of exception has become the rule and the last days of humanity never end.

A tale of love and death in a world where the state of exception has become the rule and the last days of humanity never end.

Living in a temporary autonomous zone, the residents spend their days dealing with small lunatic plots, quixotesque farces and rimbaudian delusions.

Living in a temporary autonomous zone, the residents spend their days dealing with small lunatic plots, quixotesque farces and rimbaudian delusions.

A family is sitting amid what is left of their home, their belongings piled up in the open air without shelter, while bulldozers shift piles of raw material with relentless aggression. A few moments later, members of the family walk away with whatever small items they can carry on their backs, while a worker prepares the ground for the erecting of a barbed-wire fence. The persistent sound of cargo trains haunts the visually stunning but despoiled landscape in a reminder of how money never sleeps.

Slowly we recognize traces of a couple's history. Joana, living isolated in an apartment between books and mysteries searching for an "ideal world" and Jota living on the streets searching for a confrontation with the real and trying to give back the final word to the "other"..

Slowly we recognize traces of a couple's history. Joana, living isolated in an apartment between books and mysteries searching for an "ideal world" and Jota living on the streets searching for a confrontation with the real and trying to give back the final word to the "other"..

The destructive character sees nothing permanent. But for this very reason he sees ways everywhere. Where others encounter walls or mountains, there, too, he sees a way. But because he sees a way everywhere, he has to clear things from it everywhere. Not always by brute force; sometimes by the most refined. Because he sees ways everywhere, he always stands at a crossroads. No moment can know what the next will bring. What exists he reduces to rubble – not for the sake of rubble, but for that of the way leading through it.

In an old, dilapidated mansion in downtown São Paulo, an old Shakespearean actor exiled from the stage lives with his ghosts. In his bed, surrounded by red curtains taken from an abandoned theater, he dreams of the plague and fire spreading throughout the country. A strange community forms around the old actor.

In an old, dilapidated mansion in downtown São Paulo, an old Shakespearean actor exiled from the stage lives with his ghosts. In his bed, surrounded by red curtains taken from an abandoned theater, he dreams of the plague and fire spreading throughout the country. A strange community forms around the old actor.