Maria Tereza Urias

Four city workers in their daily important relationships. A worker in the field of the Landless Rural Workers Movement. Poetry plucked like weed from the soil of our time.

A tale about the apocalypse of the working class.

Basketball gave teenager Tamiris the chance to study at a private school. There, she began to divide herself between training and theater classes. For the first time in contact with making art, Tamiris discovers other ways to release the energies of her teenage body, until she is abused during a class.

Dispossessed in an essay about the daily bread. In a country like Brasil, of such abyssal social inequality as there is here, it's urgent for me in cinema to talk about the class to which I belong, the class-who-lives-on-labor. And, alongside that, about the labor relations, the survival, the unemployment, the increasingly impoverished life, the small popular uprisings and the confrontations with the non natural order of things. In "Bread and People", we deal with ruins. And in the struggle of the old against the new, we face mainly the ruin of an idea of progress, and the debris of a critical anti capitalist art today. We've deepened our investigation of an epic, historical and dialectical cinema, using the materials of inspiration themselves.

Hunted by repression, Rúbia is taken in by Margô, the madam of a brothel in Ceilândia: La Toca, a refuge for the women who live there and the men who frequent it. This feminist fable celebrates the pleasure of bodies and the senses as a form of resistance.

A tale about the apocalypse of the working class.

Basketball gave teenager Tamiris the chance to study at a private school. There, she began to divide herself between training and theater classes. For the first time in contact with making art, Tamiris discovers other ways to release the energies of her teenage body, until she is abused during a class.

Dispossessed in an essay about the daily bread. In a country like Brasil, of such abyssal social inequality as there is here, it's urgent for me in cinema to talk about the class to which I belong, the class-who-lives-on-labor. And, alongside that, about the labor relations, the survival, the unemployment, the increasingly impoverished life, the small popular uprisings and the confrontations with the non natural order of things. In "Bread and People", we deal with ruins. And in the struggle of the old against the new, we face mainly the ruin of an idea of progress, and the debris of a critical anti capitalist art today. We've deepened our investigation of an epic, historical and dialectical cinema, using the materials of inspiration themselves.

Hunted by repression, Rúbia is taken in by Margô, the madam of a brothel in Ceilândia: La Toca, a refuge for the women who live there and the men who frequent it. This feminist fable celebrates the pleasure of bodies and the senses as a form of resistance.