Giulia Gam

With death getting near, a retired officer remembers the most important passages in his life and his participation in historical events in Brazil, such as the Lieutenants' Movement, and the 1964 coup.

Policarpo is a chauvinistic patriot, a major who tries to find solutions for Brazilian problems using only the resources of his own country. His visionary and idealistic temperament is behind his strange ideas about how to build a great nation.

Story with some autobiographical touches taken from director's life.

In a dystopian world, young people discover government secrets about the pandemic. While fighting oppression, they try to survive.

A liberal interpretation of the book Galáxias, one of the most important works by the great contemporary Brazilian poet Haroldo de Campos, written between 1963 and 1976 and published in 1986. Bressane considers this work of poetry the Portuguese Finnegan's Wake. The video is a disorganized system of images: an exploration of colors, quotes and sudden inspirations created by the words. A sequence of epiphanies, rigorous in their images. The films cited act as cinematographic scenery, conferring a sense of drama to the movements of the actresses and the readings of the poems.

A man tells a story from his childhood, comparing it to his current experience.

Five stories by Brazilian writer Guimarães Rosa: in the hinterland of the State of Minas Gerais, Brazil, a man fears for his life after having killed one of the dire Brothers Dagobé, outlaws who have great influence over the region; a hitman asks a doctor what's the meaning of a name he has heard; in a farm, the landowner decides to share the use and property of the estate among his employees; a man falls in love with a girl, but she's said to have a dreadful disease; and the local butcher spends half of his time running after his mother and daughter, both utterly mad.

"The Baron" wanted to commit the perfect heist involving 3 tons of money and no violence. For this he would need the right people willing to get 1 million dollars to take part in this job. Based on true events, in 2005, 168,000,000 Brazilian Real (almost 80,000,000 US dollars) were stolen from a Brazilian Central Bank (Federal Reserve), making it the biggest peace-time robbery in history. It was perhaps the most audacious bank heist ever.

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In four stories inspired by humorous tales by Ariano Suassuna, each created based on phrases by the poet from Paraíba, we meet Helder, Fabiano, Pierce and Lorena, living different situations where, ironically, the lie is always the protagonist.

Weatherman from a TV network goes back to his hometown, Vale da Rocha, a place in Northeast Brazil, devastated by the drought. He is forced to face the geographic elements and his own memories.

Peter Mandrake, a North-American photojournalist becomes embroiled in South America's dangerous underworld of pimps, drug gangs and arms smugglers when he sets out to find the killer of a local call girl.

Collective film with five segments around the works and life of brazilian writer Oswald de Andrade.

The beautiful Flor marries Vadinho -- and soon finds out he's spending all their money on gambles and has mistresses all over the city. Vadinho suddenly dies while partying during Carnival, and Flor, left helpless and full of debts, ends up marrying Teodoro, who's the exact opposite of her late husband.

A biography of spiritual medium and author Francisco Candido Xavier.

A bus tour to São Paulo’s touristic spots bumps into several strange people.

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.

In September 2007 Júlio Bressane goes to Ferrara. In the cemetery of the Italian city he ends up making two movies.

In his film Rua Aperana 52 Júlio Bressane describes the invention of a landscape, the topology of a corner of Rio de Janeiro. The film consists of a series of photographs taken between 1909 and 1955 by, among others, Bressane's parents at and around the address used as a title. These are interlarded with scenes from films made between 1957 and 2005, bringing the total fictional time the film covers to almost a century; one hundred years in which the winding road featured in almost every shot structures the new landscape behind the Aperana, which means 'wrong road'. Rua Aperana 52 is autobiographical, as it is a landscape from Bressane's youth, but it is also not so; it is more a multi-subjective mythology of a place seen through all those films and photographs. Bressane refers to his editing as an intuitive form of thinking aimed at evoking moods which make the viewer the new witness of the fictional landscape. A fiction about a fiction,

A 50 year-old woman who analyses her past. She pictures herself when she was 20 years old and she re-creates the story of her life through a game of innumerous possibilities. What if she wouldn't have gone to that ball? What if... instead of meeting the man of her life, with whom she married and had kids, she would have called a girlfriend and they went to the theater? What would be her destiny? What would have happened? In the plot the present talks to the past. A young woman projects her future in a fascinating game between memories and desires.

The meeting between the young Brazilian author Oswald de Andrade, 18 years old, and the famous American ballerina Isadora Duncan, 40 years old, as she traveled through Brazil.

A coming of age story about a boy in RIo de Janeiro, Brazil who, after his father's death, finds out about his family and where he came from.

At the end of the 19th century, an influential man diplomatically defended the city of Curitiba against the action of revolutionaries in the south of Brazil to depose the country's president.

Clumsy old lady Dina Rocha lives with her son Marcelo. After a series of incidents at home, she moves to her house in Santa Teresa. She meets her friend Nonô and she pays a visit to her old friend. Her sons do not know where she is and they go to the hospitals and morgues. Coincidently there is the body of an old lady smashed by a truck and they believe that she is their mother. Meanwhile two smalltime thieves break in Nonô's house and keep the two old ladies locked in the bathroom. During the funeral of Dina Rocha, the dysfunctional families have a quarrel disputing their heritage.