Ricardo Bittencourt

The small town of Furnas Fundas hides a secret far older than its pastures, forests, or the people who live there. During a heated election marred by scandals, Bartira, known merely as the town drunk, unexpectedly finds herself at the center of it all. It’s up to her to face a dark force that has returned to turn the town into a true bloodbath.

Regina and Valerio are a happy couple seeking a way out of their criminal family business, but their efforts only push them deeper into the pit they hoped to escape.

Jean encounters a psychic in the early hours of the morning. Sara attends Irene’s wake. Verônica plays a guerrilla fighter in a theater production. In the underworld of a metropolitan city center, fragments of love stories, delusions, and separations flicker throughout the night.

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.

A documentary on the life and work of the journalist from Bahia, Ruy Barbosa, which interweaves archival footage, dramatization, and audio fragments, crafting a compelling journey through the life of this great Brazilian. The film reveals his remarkable influence on modernity and the development of democracy in the country, reclaiming the significance of his ideas, values, and lasting impact on contemporary society.

Horacio, an old smuggler hiding from the law, lives in a surreal, baroque apartment with Petulia, his daughter, and Milton, his favorite thug. While he keeps his daughter locked up in her bedroom, Horácio flirts with his goon, for whom he has had repressed feelings for years. However, Milton's love for a mysterious woman, and Petula's attempts to free herself with the help of a former lover, clash with Horacio's tyrannical whims.

Three brothers embark on a journey that begins with a kinship with Brazil's indigenous tribes, to their creation of South America's largest national park.

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.

Yuda, a Chinese immigrant, and his adopted son Kirin, who he saved being eaten by a tiger in the jungle, stand at the head of a massive pirated goods operation that brings in both money and influence. But their empire is crumbling, as corrupt politicians and rival gangs seek to end their power in the city. Yuda is soon got arrested and his dedicated son tries his best to save not just the family business, but his father's reputation.

After being exiled for 26 years, Tieta returns to her native village in Bahia, bringing chaos and upheaving the local order.