Sérgio Lulkin

Stênio, the nightshifter of a morgue, has the ability to communicate with the cadavers that are brought to him every night.

The countryside of Rio Grande do Sul, and high-school student, Daniel, spends a normal adolescence life with his family, studying, riding his bicycle, playing games on the Internet and expecting one day to move to the big city of Porto Alegre. Daniel has a crush on his girlfriend Mim, who has just broken up with him but is still his friend, and his best friend, Lucas, is one of the best students in São Lucas High-School. Daniel is the son of Elaine and the photographer Daniel, who left Elaine when she was pregnant and moved alone to Thailand. Daniel is raised by Elaine and his stepfather Antônio, and shares a house with his half-sister, Maria Clara. One day, Daniel receives a letter from his biological father, who has malaria, and he is reluctant to open the envelope.

Joaquim and Margarida spend the day in the antique shop of their grandfather, the forgotten Fuinha, and his partner, the grumpy Caçapava. An old suitcase, full of strange bottles, is the portal to a magical world where extraordinary adventures are lived and lost memories are revisited.

Picucha may seem old-fashioned, but she has modern ideas and a great sense of humor. As the matriarch of a big family, she is involved in the daily lives of her children, grandchildren and other relatives. Undeterred by the typical problems of old age, she uses her many years of experience to solve problems in the best way possible.

Written in 1625 by the British playwright Ben Jonson, the play “The Staple of News” provides a historic root for this discussion about the role of the press in modern day Brazil. Journalists of several generations discuss the dilemmas of the selection and focus of their subjects, the resistance of the media in accepting itself as a political agent, the inevitability of interpretation as there are no hard facts in nature, and above all the search for an always complex balance between credibility and the public’s growing demand for news.

When they discover their town lacks funding for a sewage system, but does have a federal grant to make a movie, a group of villagers decide to make a sci-fi joint about a monster who lives in the building site of a septic tank.

Éder is arrested after confessing the murder of a man. Duca, his nephew, is sure that his uncle confessed the crime to protect his girlfriend, Soraya, ex-wife of the deceased, so he enlists two of his friends to help prove his theory.

Betrayed wife of a powerful and corrupt Senator, turns him in, and his fraud schemes and lies are exposed. After one of his lovers commits suicide, he has his illegitimate son kidnapped and taken to a decadent seaside resort in the country's extreme southern coast. The Senator chooses another former lover to take care of his son, and the two of them become involved beyond that of a mother son relationship.

Two friends try to get to a restaurant for dinner and get lost in the labyrinth of bars, walls and fences in a city.

In the 1970s, in the midst of political repression and the ideology of the "Brazilian miracle", a group of teenagers live their daily concerns: the future, nights full of dancing, dating fights, conflicts with their parents. For three days they live their green years, a little more than a dream.

Deu Pra Ti Anos 70 is a Brazilian film, shot in super-8 in 1981 in the city of Porto Alegre. It tells the story of the meetings and disagreements between Marcelo and Ceres through the 1970s, in bars, dance meetings and camps. It has the special participation of artists who would become important in the gaúcho music scene, such as Nei Lisboa, Júlio Reny, Augusto Licks, Wander Wildner and Carlos Gerbase. It was the first film by actor Werner Schünemann.