Maria Clara Escobar

The couple Laura and Israël have a five-year-old son, Lucas. They live together but seem to have lost interest in one another's thoughts and cares. Their relationship seems headed for the rocks, and the only one who seems to still be looking for something from life is Lucas.

The discoveries and frustrations on accessing a memory of a father and of a time in the Brazilian history that are rarely public. The young filmmaker plunges into this unknown past of her almost unknown father. He, a Brazilian intellectual, imprisoned and tortured during the military dictatorship, is silent about this since that time. A father and a fatherland that does not like to answer any questions, that loves but rarely talks.

The daily life of a family in which countless factors are disturbing: the father is unemployed, the members need to move house, the mother is abducted, and life continues as if nothing had happened.

No synopsis available yet.

Each citizen of Jotuomba plays an integral role in village life. Madalena is responsible for baking bread; each morning she stacks her rolls as Antonio prepares the coffee. The two share a morning ritual of arguments and insults, followed by an amicable cup of coffee on the bench outside Antonio's shop. At midday the church bells ring, summoning the villagers to mass. In the early evening, they all share a meal together. And so life proceeds in Jotuomba, the days languidly drifting into one another; the only variations seem to be in the weather. But, one day Rita arrives looking for a place to stay.

In Pernambuco, a jewel robbery brings together an old group of misfits, with catastrophic results. Watched over by ghosts from the past, each of them will have to find their own way to freedom.

The couple Laura and Israël have a five-year-old son, Lucas. They live together but seem to have lost interest in one another's thoughts and cares. Their relationship seems headed for the rocks, and the only one who seems to still be looking for something from life is Lucas.

The couple Laura and Israël have a five-year-old son, Lucas. They live together but seem to have lost interest in one another's thoughts and cares. Their relationship seems headed for the rocks, and the only one who seems to still be looking for something from life is Lucas.

The discoveries and frustrations on accessing a memory of a father and of a time in the Brazilian history that are rarely public. The young filmmaker plunges into this unknown past of her almost unknown father. He, a Brazilian intellectual, imprisoned and tortured during the military dictatorship, is silent about this since that time. A father and a fatherland that does not like to answer any questions, that loves but rarely talks.

The daily life of a family in which countless factors are disturbing: the father is unemployed, the members need to move house, the mother is abducted, and life continues as if nothing had happened.

No synopsis available yet.

Each citizen of Jotuomba plays an integral role in village life. Madalena is responsible for baking bread; each morning she stacks her rolls as Antonio prepares the coffee. The two share a morning ritual of arguments and insults, followed by an amicable cup of coffee on the bench outside Antonio's shop. At midday the church bells ring, summoning the villagers to mass. In the early evening, they all share a meal together. And so life proceeds in Jotuomba, the days languidly drifting into one another; the only variations seem to be in the weather. But, one day Rita arrives looking for a place to stay.

In Pernambuco, a jewel robbery brings together an old group of misfits, with catastrophic results. Watched over by ghosts from the past, each of them will have to find their own way to freedom.

From the encounter between Maria Clara, the filmmaker, and Gil, the character, not only cities but entire cinematic possibilities explode. Dreams and desires collide with the harshness of reality, giving form – through art – to the dilemmas of collective human existence. As in her acclaimed debut feature, “Os Dias Com Ele,” Maria Clara Escobar starts from her immediate surroundings and amplifies the scope of her camera, this time telling a story of women and the passage of time in a country that offers little mercy to either.

In 1974 rural Brazil under military dictatorship, the fragile balance of Jorge and Mariângela's relationship faces expropriation of their land for the construction of a hydroelectric dam, is further shaken by the unexpected intimacy between Mariângela and Jorge’s sister.

On the eve of her 65th birthday, Dolores has a premonition: her life is about to change. She will own a successful casino. However, her gambling addiction of the past may work against her. Deborah, her only daughter, waits for her boyfriend's release from prison to start a new life, whilst her granddaughter Duda clings to a chance of working in the United States. All three women will strive to make their dreams of a better life a reality, going for it all or nothing.

On the eve of her 65th birthday, Dolores has a premonition: her life is about to change. She will own a successful casino. However, her gambling addiction of the past may work against her. Deborah, her only daughter, waits for her boyfriend's release from prison to start a new life, whilst her granddaughter Duda clings to a chance of working in the United States. All three women will strive to make their dreams of a better life a reality, going for it all or nothing.