Leonardo Vieira Mendonça

2009. Curitiba. University of Cinema. After the accidental death of Leandro, a student, inside the filming studio, Romero, the institution's janitor and Leandro's grandfather, after blaming the other 5 students for his grandson's death, kills, dismembers and buries the boys on the campus itself. This story becomes known nationwide as "the boys in pieces". 15 years later, another 6 students are producing a "true crime" documentary about this brutal crime and someone does not want this story to be told. New deaths begin to occur.

Reimagining scenes from the iconic Man with a Movie Camera (1929, Dir. Dziga Vertov/USSR), Man with a Cellphone Camera delves into the creative potential and image manipulation in the era of social media.

The shooting of “Rio e Luar” is about to begin. What the crew doesn't know is that Max, the film's director, is in a secret relationship with Hugo, his photography trainee. The situation becomes even more complicated when Hugo decides that it's time to tell the world how they feel about each other, even if it jeopardizes their careers in the prejudiced film industry of the 60's.

Amidst absurd conversations about (almost) true stories, four unapologetic sapphics gather at a bar table. A dialogue-driven film? Yes. A comedy? Hopefully. An excuse to put more lesbians talking dirty on the big screen? Absolutely.

A lonely sailorman rescues a stranger from drowning and brings him home. In the days that follow, the two grow closer in a bond of desire and fantasy.

A young man is turning 25 years old and, on his birthday, he reminisces about phrases he heard during his childhood, adolescence, and adulthood. He chooses to dance and make a wish.

Two friends who like each other end up drifting apart because of one’s intense passion. Lucas finds himself alone without his best friend by his side, which leads him to take somewhat impulsive actions.