Francenilton Klava

Elena, an obsessive artist who dreams of one day appearing on the silver screen in Hollywood, slowly begins to lose her sanity as she waits for the phone call that could change the course of her life.

An essay film in which three young people unearth a clandestine archive of Brazilian cinema and plunge into a Dadaist–Third World delirium. Amid forbidden images and personal memories, they implode the very idea of Brazil.

Rebels on the surface, retrogrades in essence. “The Ridiculists”, a duo composed of the eccentric and explosive, “The Ridiculer”, and his faithful squirer, “The Talker”, roam through the Brazilian capital breaking into homes, committing murders, as they create a legion of blind supporters along the way.

Inside a socio-educational detention unit, five youths in conflict with the law plan their own film as a way to find meaning in their time behind bars. Through a hybrid process that blends documentary and fiction, TWENTY TWENTY FOUR dissolves the reality of juvenile crime and confinement into a sensory experience—exploring rebellion, boredom, and traces of tenderness within a space defined by abandonment.

Elena, an obsessive artist who dreams of one day appearing on the silver screen in Hollywood, slowly begins to lose her sanity as she waits for the phone call that could change the course of her life.

An essay film in which three young people unearth a clandestine archive of Brazilian cinema and plunge into a Dadaist–Third World delirium. Amid forbidden images and personal memories, they implode the very idea of Brazil.

An essay film in which three young people unearth a clandestine archive of Brazilian cinema and plunge into a Dadaist–Third World delirium. Amid forbidden images and personal memories, they implode the very idea of Brazil.

An essay film in which three young people unearth a clandestine archive of Brazilian cinema and plunge into a Dadaist–Third World delirium. Amid forbidden images and personal memories, they implode the very idea of Brazil.

Rebels on the surface, retrogrades in essence. “The Ridiculists”, a duo composed of the eccentric and explosive, “The Ridiculer”, and his faithful squirer, “The Talker”, roam through the Brazilian capital breaking into homes, committing murders, as they create a legion of blind supporters along the way.

Rebels on the surface, retrogrades in essence. “The Ridiculists”, a duo composed of the eccentric and explosive, “The Ridiculer”, and his faithful squirer, “The Talker”, roam through the Brazilian capital breaking into homes, committing murders, as they create a legion of blind supporters along the way.

Inside a socio-educational detention unit, five youths in conflict with the law plan their own film as a way to find meaning in their time behind bars. Through a hybrid process that blends documentary and fiction, TWENTY TWENTY FOUR dissolves the reality of juvenile crime and confinement into a sensory experience—exploring rebellion, boredom, and traces of tenderness within a space defined by abandonment.