Browse Items (47 total)
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Amor maldito
Duas jovens mulheres, Fernanda, uma executiva, e Sueli, uma ex-miss, se apaixonam e decidem morar juntas. Porém, Sueli se cansa do relacionamento amoroso que leva com Fernanda e envolve-se com um jornalista. A moça engravida do amante e ele a abandona. Em desespero, Sueli se atira da janela do apartamento de Fernanda, que passa a ser acusada de homicídio. (Adoro Cinema Brasil)
Nota editorial: Amor maldito es el primer largometraje de ficción dirigida por una mujer afro-brasileña, un reconocimiento que Adélia Sampaio no recibió hasta el siglo veintiuno. Ver también: Dennison, Stephanie. "Practising Inclusive Citation in Modern Languages Research: The View from Brazilian Film Studies." Modern Languages Open, vol. 0, no. 1, 2023, p. 4. DOI: 10.3828/mlo.v0i0.448. -
O contador de histórias
Anos 70. Aos 6 anos Roberto Carlos Ramos (Marco Ribeiro) foi escolhido por sua mãe (Jú Colombo) para ser interno em uma instituição oficial que, segundo apregoava a propaganda, visava a formação de crianças em médicos, advogados e engenheiros. Entretanto a realidade era bem diferente, o que fez com que Roberto aprendesse as regras de sobrevivência no local. Pouco depois de completar 7 anos ele é transferido, passando a conviver com crianças até 14 anos. Aos 13 anos, ainda analfabeto, Roberto tem contato com as drogas e já acumula mais de 100 tentativas de fuga. Considerado irrecuperável por muitos, Roberto recebe a visita da psicóloga francesa Margherit Duvas (Maria de Medeiros). Tratando-o com respeito, ela inicia o processo de recuperação e aprendizagem de Roberto. (Adoro Cinema Brasil) -
Empoderadas
Empoderadas é uma websérie que apresenta entrevistas com mulheres negras das mais diversas áreas, profissionais bem sucedidas que falam sobre suas trajetórias, sobre o mercado de trabalho e o racismo e o machismo que o envolvem. Cada capítulo nos apresenta uma personagem real e uma história única. Foram entrevistadas atrizes, artesãs, cantoras, professoras, dentre várias outras profissionais que conversam com a câmera e falam sobre negritude, gênero, suas vidas e suas lutas. (Arte Aberta) -
Cores pretas
Cores Pretas es un documental corto que, a través de varias entrevistas, cuenta las historias de cinco afrobrasileñas y sus experiencias enfrentando el racismo y la discriminación de género diariamente desde su niñez. (Sinopsis de Éowyn Bailey) -
Pixote: A Lei Do Mais Fraco
Pixote, a child from the streets of São Paulo, is arrested by the police and sent to a juvenile detention center where he and the other adolescents endure abuse and sexual violation by police officers. When two runaways are murdered and the police frame Lilica, a transgender woman, Pixote escapes with her and their friends to begin living a life of crime. (Film synopsis by Éowyn Bailey) -
Ônibus 174
Uma investigação cuidadosa, baseada em imagens de arquivo, entrevistas e documentos oficiais, sobre o seqüestro de um ônibus em plena zona sul do Rio de Janeiro. O incidente, que aconteceu em 12 de junho de 2000, foi filmado e transmitido ao vivo por quatro horas, paralisando o país. No filme a história do seqüestro é contada paralelamente à história de vida do seqüestrador, intercalando imagens da ocorrência policial feitas pela televisão. É revelado como um típico menino de rua carioca transforma-se em bandido e as duas narrativas dialogam, formando um discurso que transcende a ambas e mostrando ao espectador porque o Brasil é um país é tão violento. (Adoro Cinema Brasil) -
Temporada
Juliana está se mudando de Itaúna, no interior do estado, para a periferia de Contagem, na região metropolitana de Belo Horizonte, para trabalhar no combate a endemias na região. Em seu novo trabalho ela conhece pessoas e vive situações pouco usuais que começam a mudar sua vida. Ao mesmo tempo, ela enfrenta as dificuldades no relacionamento com seu marido, que também está prestes a se mudar para a cidade grande. (Filmes de Plástico) -
O Pai da Rita
Roque e Pudim, compositores da velha guarda da Vai-Vai, partilham uma quitinete, décadas de amizade, o amor pela escola de samba e uma dúvida do passado: o que aconteceu com a passista Rita, paixão de ambos. O surgimento de Ritinha, filha da dançarina, e as sombras do compositor Chico Buarque, ameaçam desmoronar essa grande amizade. (46 Mostra Internacional de Cinema- Sao Paulo International Film Festival) -
Kbela
Until 2018, a Black woman had not directed a feature-length film for national distribution [in Brazil], yet Black female film directors have been active in the independent short-film space. Yasmin Thayná wrote and directed Kbela (2015), an experimental film that depicts Black women developing their identity and affirming themselves through accepting their hair texture. Kbela represents the challenges Black women face and their actions to overcome them, but it doesn't focus only on the individual. (Gillam, Reighan. Visualizing Black Lives: Ownership and Control in Afro-Brazilian Media. U of Illinois P, p. 84) -
Café com canela
Violeta vive en una comunidad unida en Bahía, Brasil, y no es la única que lucha con el dolor y la pérdida. También se encuentra una abuela totalmente dependiente del cuidado de otros; una mujer que busca desesperadamente el amor; y un médico joven quien, después de 20 años, pierde a su gran amor, un hombre mucho más grande que él. Todos pensaban que la pareja vivía como padre e hijo hasta que el anciano muere. La pérdida es completa y la verdad sale. Luego Violeta conoce a Margarida, una señora mayor haciendo el luto sola y en silencio en un pueblo cercano. Cariñosamente Violeta la ayuda a salir de su aislamiento con ritos cotidianos prácticos: frotar, teñir y hacer café con canela. (Translated by Abi Dresser) -
Café com canela
In 2018, a duo of filmmakers that included an Afro-Brazilian woman, Glenda Nicácio, and Ary Rosa brought the film Café com Canela (Coffee with cinnamon) to a commercial release. The film features a predominantly Black cast and is set in Salvador, Bahia. Nicácio and Rosa studied film at the Federal University of the Recôncavo of Bahia and founded their own production company. Set in Bahia, the film follows various characters struggling with loss of loved ones, focusing on the friendly relationship between two women, Violeta and Margarida. Violeta helps Margarida out of her isolated life through their interactions and conversations. This film is the first commercial release by a Black woman filmmaker. (Gillam, Reighan. Visualizing Black Lives: Ownership and Control in Afro-Brazilian Media. U of Illinois P, p. 106) -
Mulheres Negras
Despite official jargon to the contrary, Brazilians live in a racially segregated class system. This upbeat, sensitive and elegantly composed documentary, produced by Lilith Video Collective, looks at the ways Black women have coped with racism while validating their lives through their own music and religion. (Women Make Movies) -
Favela Gay
Favela Gay tells the story of eleven individuals in their own words. Living in eight slums (favelas) in Rio de Janeiro, these members of the LGBTQ community – two transgender women, a crossdressing man, a travesti (in South America, a person who was designated male at birth who has a feminine, transfeminine or femme gender identity) prostitute, a famous carnival dancer, two community activists, and even a young man who used to be transgender, but transitioned back – have fought prejudice and seen some of the most unsavoury sides of the city. (Sounds and Colours) -
Jennifer
Jennifer follows the ways in which a Black female high school student navigates the relationships and insecurities of teenage life. Jennifer wrestles with self-understandings of her own beauty, her relationships with classmates and friends, and developing skills to become employable. Ultimately she seeks independence through work and develops a strong sense of herself as an individual with enough agency to make her way in life. (Gillam, Reighan. Visualizing Black Lives: Ownership and Control in Afro-Brazilian Media. U of Illinois P, p. 86) -
Nada
Bia (played by the rapper Clara Lima) is confronted with a question in school: what do you want to do after you finish high school? Her answer is strong enough to lend the film its title: nothing. The young rapper, therefore, more than fits David Bordwell’s description of the protagonist of the art film as a drifting character who lacks a clear goal; in fact, she enacts it: she desires nothing but the open-ended journey, the suspenseful ambiguity of the art film, the journey that is more important than its destination. (Source: https://wp.nyu.edu/fabioandrade/2018/11/26/nothing-nada-2017-gabriel-martins) -
Movimento
Tereza, nascida na pandemia do Coronavírus em 2020, é cuidada por seus pais Rimenna e Gabriel. (Tamanduá.tv) -
Afronta!
A série AFRONTA! é dirigida pela cineasta negra Juliana Vicente e lança luz sobre a potente juventude negra brasileira contemporânea que contam suas trajetórias e oportunidades geradoras da sua constituição como indivíduo e expressadas pelos seus trabalhos. Em 26 episódios documentais de 15 minutos, grandes nomes contemporâneos refletem sobre o AFROFUTURISMO, como movimento estético e filosófico, sobre os encontros afrodiaspóricos e a criação desta rede como geradora de autonomia e potência. Realizado em diversos pontos do país como Recife, Bahia, São Paulo, Minas e Rio de Janeiro, Afronta! apresenta nomes como Rincon Sapiência, cantor de rap, Grace Passô, atriz e dramaturga premiada e Ingrid Silva, bailarina do Dance Theater of Harlem, NY. (Film's Official Website) -
Afronta!
A série AFRONTA! é dirigida pela cineasta negra Juliana Vicente e lança luz sobre a potente juventude negra brasileira contemporânea que contam suas trajetórias e oportunidades geradoras da sua constituição como indivíduo e expressadas pelos seus trabalhos. Em 26 episódios documentais de 15 minutos, grandes nomes contemporâneos refletem sobre o AFROFUTURISMO, como movimento estético e filosófico, sobre os encontros afrodiaspóricos e a criação desta rede como geradora de autonomia e potência. Realizado em diversos pontos do país como Recife, Bahia, São Paulo, Minas e Rio de Janeiro, Afronta! apresenta nomes como Rincon Sapiência, cantor de rap, Grace Passô, atriz e dramaturga premiada e Ingrid Silva, bailarina do Dance Theater of Harlem, NY. (Film's Official Website) -
As Minas do Rap
No Brasil, as mulheres tardaram a entrar no cenário do rap, e até hoje são raros os grupos ou artistas individuais que alcançaram destaque em suas carreiras. O documentário entrevista mulheres ligadas ao hip hop, abordando o histórico feminino dentro do movimento e dando voz a artistas como Negra Li, MC Gra e Karol Conká. (Preta Portê Filmes) -
Aruanda
The film describes the miserable lives of the descendants of the slaves, who founded a "quilombo." The men plant cotton in the dry ground. The women work in crafts in an economic cycle that does not bring in cash. The poverty of the film-making is an expression of the miserable conditions that are not present only in the reality that is represented in the film, but contaminates the very material nature of the film (Torino Film Festival). -
Kbela
Hair is an important marker of black female identity. Many films have been made about 'nappy' hair, but this debut by Yasmin Thayná is among the best. This powerful visual essay is a form of resistance to invisibility and an audiovisual experience about being and becoming a black woman. (International Film Festival Rotterdam) -
Clementina
A journey through the songs and story of Brazilian singer Clementina de Jesus. Her most poetic sambas, the rhythmic sway of the drums and the religious chants that reveal a strong connection with the sacred world take us to the deep world of Quelé. A unique character in the history of Brazilian popular music, a granddaughter of slaves, she is considered by many as the missing link between Brazilian culture and its African roots. (Jangada Film Festivals) -
Marighella
Beginning with a breathless, Robin Hood-style train robbery and ending with a highly provocative—and not for the faint of heart—final sequence, the directing debut from journalist, musician, and actor Wagner Moura (Elite Squad; Pablo Escobar in Narcos) is a searing and energized portrait of one of Brazil’s most divisive historical figures, Afro-Brazilian poet and politician Carlos Marighella (actor/singer Seu Jorge, The Life Aquatic With Steve Zissou). Driven to fight against the erosion of civil and human rights following the CIA-backed military coup of 1964 and the brutal right-wing dictatorship that followed, the revolutionary leaves behind his wife, Clara (Adriana Esteves), and son, Carlinhos, to take to the streets, authoring the highly influential Minimanual of the Urban Guerrilla,becoming a notorious enemy to the power structure, and being doggedly pursued by sadistic chief inspector Lucio (Bruno Gagliasso) before an untimely death in a dramatic police ambush in 1969. (Review by Hebe Tabachnik, Seattle International Film Festival, Film's Official Website) -
Alma no olho
Alma no olho (Soul in the Eye), a short film directed and performed by Zózimo Bulbul in 1973, constitutes the inaugural gesture of black cinema in Brazil. Bulbul’s status as a pioneer for Black Brazilian cinema does not reside in historical chronology, because he was not the first Black Brazilian director: Jose Cajado Filho, Haroldo Costa, and Odilon Lopes were his predecessors in that lineage. His importance lies, rather, in the aesthetic and narrative advances accomplished by his film, which has survived its ostracism—imposed by Brazilian critics and cinema studies through an exclusionary hegemony of almost forty years—to be taken up again as a reference point by a new generation of Black Brazilian filmmakers. [...] In recent years, many analyses have been carried out in the field of black cinema studies on Alma no olho, largely devoted to its historical relevance, leaving the inventiveness of its aesthetic gesture somewhat in the background. Frequent note is made of the film’s inspirations: the script draws from Soul on Ice, the 1968 book by Black Panther Eldridge Cleaver about his time in exile, and the soundtrack consists of music from the album Kulu Sé Mama, the 1965/67 collaboration by Juno Lewis and John Coltrane, to whom Bulbul dedicates the film. In Alma no olho’s eleven minutes, Bulbul performs a pantomime of the history of Black people between Africa and the diaspora, tracing a saga that begins with a state of freedom as lived on the African continent, passes through the hardships of the Atlantic slave trade, and finally ends with the breaking of all the chains of colonial domination that continued to imprison black bodies and minds in the period following the Abolition—the end of the transnational slave trade, in 1888, in Brazil. On-screen, only his black body, some objects, and a white background are present for most of the film’s duration. While the performance is under way, the character played by Bulbul faces the camera at different moments, sometimes in complicity, sometimes with irony, but always defiantly. (Source: Oliveira, Janaína. "With the Alma no Olho: Notes on Contemporary Black Cinema." Film Quarterly, vol. 74, no. 2, Winter 2020, pp. 32–38, doi: 10.1525/fq.2020.74.2.32.) -
O Tempo dos Orixás
The Summer of Gods is a short film about a young girl named Lili who unites with her Afro-Brazilian religious ancestry on a summer visit with family to their ancestral village in rural Brazil. During her stay, she encounters Orishas (African gods) who help her find peace with a gift that has previously vexed her. The film is set in the Northeast of Brazil where Afro-Brazilian religious traditions remain strong. Lili's Grandma upholds Orisha traditions as an admired local priestess, but to ensure these traditions carry on after she passes, the gifted Lili is led on a mystical adventure of initiation through a nearby forest. (Film's Official Website) -
Menino 23 - Infâncias Perdidas no Brasil
The Forgotten Boys of Brazil follows the research of historian Sidney Aguilar, beginning with the discovery of bricks marked with Nazi swastikas on a farm in the countryside of São Paulo. The documentary reveals something really frightening: during the 1930s, fifty black boys were taken from an orphanage in Rio de Janeiro and led to the farm where the bricks had been found. There, the boys were identified by numbers and subjected to slave labor by a family that was part of the political, military, and economic elite of the country. This family did not hide their affinity for the Nazi ideology.
At the time, Brazil had the largest German population-with 100,000 German-born people and a community of 1 million people of German descent. 2,822 were members of the Nazi Party. Such context helped Brazil become a safe haven for Nazi war criminals after WWII when 20,000 Germans settled there. The most notorious fugitive to settle in Brazil was Dr. Josef Mengele.
Two survivors from this Brazilian tragedy, Aloísio Silva (the “boy 23”) and Argemiro Santos, as well as the family of José Alves de Almeida (known as ‘Two’), reveal their stories for the first time. (Pragda)
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Cidade de Deus, 10 anos depois
City of God – 10 Years Later investigates the fate of the young actors who participated in the award winning film City of God, directed by Fernando Meirelles and Katia Lund. The documentary shows how their lives unfolded after the film’s worldwide success. The film includes the participation of the actors who portrayed Dadinho, Bené, and Li’l Zé, as well as the actress Alice Braga and musician and actor Seu Jorge. (Pragda) -
Ori Inu: In Search of Self
Ori Inu: In Search of Self is a coming-of-age story about a young immigrant woman who must choose between conforming her identity and spirituality to the cultural norms of America or revisiting her roots in the Afro-Brazilian religion called Candomble. The film stars Tony Award winner Tonya Pinkins and feature the Grammy-nominated Afropean duo Les Nubians among others. (IMDB) -
Cores e Botas
Joana tem um sonho comum a muitas meninas dos anos 80: ser Paquita. Sua família é bem sucedida e a apoia em seu sonho. Porém, Joana é negra, e nunca se viu uma paquita negra no programa da Xuxa. (Preta Portê Filmes)Joana has the same dream as all young Brazilian girls in the 80s: she wants to be a Paquita, a dancer on Xuxa's TV show. Her family is wealthy, and will support her. However, there is a problem. She is black, and Xuxa never had a black Paquita on her team. -
Café com canela
Violeta lives in a tight-knit community in Bahia, Brazil. She is far from the only one struggling with grief and loss: there is also a grandmother entirely dependent on care, a woman desperately searching for love and a young doctor who – after 20 years – is left by his great love, a much older man. Everyone thought they lived together as father and son until the old man dies. The loss is complete and the truth comes out. Then Violeta meets the older Margarida who is grieving alone and in silence in a nearby village. Lovingly Violeta helps her out of her isolation with practical rituals: scrubbing, tidying and making coffee with cinnamon. (International Film Festival Rotterdam) -
Cores e Botas
Joana tem um sonho comum a muitas meninas dos anos 80: ser Paquita. Sua família é bem sucedida e a apoia em seu sonho. Porém, Joana é negra, e nunca se viu uma paquita negra no programa da Xuxa. (Preta Portê Filmes) -
Vazante
Minas Gerais, 1821. Período em que a economia local era baseada na extração de diamantes entrou em colapso. Ao voltar para casa, depois de uma longa viagem, na qual conduzia uma tropa de escravos, Antônio, um patriarca português, descobre que sua mulher morreu em trabalho de parto. Sentindo-se sozinho e isolado em uma fazenda improdutiva, busca um novo casamento com Beatriz, uma menina muito jovem que frustra seu plano de ter filhos. Antônio, então, volta às expedições, negociando negros e gado. Sozinha, Beatriz encontra nos escravos sua companhia. Uma traição implode a família em uma espiral de violência, que é o prenúncio de mudanças. O filme revela algumas de nossas maiores cicatrizes: a escravidão, o casamento forçado de meninas, a mestiçagem fruto do assédio e da exploração sexual das negras, e as hierarquias de poder que pervertem até as relações entre os mais oprimidos. (Cinemateca Brasileira) -
So quando eu danço
Only When I Dance was begun as a hopeful documentary about social projects in Rio’s favelas, the aim being simply to show another side to the Brazilian image of violence and hopelessness, with kids achieving real things in their appallingly blighted neighbourhoods. Director Beadie Finzi and producer Giorgia Lo Savio could never have imagined just what they would end up filming. Having decided that capoeira was overdone as a Brazilian theme, Beadie was drawn to the idea of ballet - she’d been told about a remarkable teacher, Mariza Estrella, who runs Rio’s Centro de Dança, where she gives free lessons to kids she talent-scouts in the favelas. In her top two classes Beadie found two outstanding children: Irlan Santos da Silva, a boy set apart from all others by the intensity of his love of dance, his beautiful physique and his evidently unusual talent, and Isabela Coracy, who faced the biggest barrier possible in her dream of becoming a ballerina: she is black. Even out in the world there are few black classical ballerinas - in Brazil, there are none. (The Arts Desk.com) -
Domésticas
Domésticas is not a film about maid-servants but a film by maid-servants. Domésticas wants to give them a voice. Or rather: voices. No less than 3 million women in Brazil work as 'domestics' and they all have stories to tell. Domésticas is however not a film about the life of the maidservant in the city, not a critical look at harsh reality: this film is about the characters as storytellers. Domésticas is the film version of one of the most popular and widely praised modern Brazilian stage plays. As preparation for the play, hundreds of maid-servants were interviewed and the five most important characters were compiled from the conversations. What makes the film special is not just the subject, but also the form. The film starts as a documentary. The five women talk to the camera about themselves, about their desires, frustrations, problems and pleasures. As the film progresses, more and more space is given to pictures to illustrate their stories. They are universal stories about women wrestling with loneliness, ambitions, conflicts with partners and children, loss and pain. But it is not all bad times. New, exciting encounters, music and mutual solidarity provide sparkling interludes in their heavy existence. (International Film Festival Rotterdam) -
Quilombo
Palmares is a 17th-century quilombo, a settlement of escaped slaves in northeast Brazil. In 1650, plantation slaves revolt and head for the mountains where they find others led by the aged seer, Acotirene. She anoints one who becomes Ganga Zumba, a legendary king. For years, his warriors hold off Portuguese raiders; then he agrees to leave the mountains in exchange for reservation land and peace. It's a mistake. Zumbi, a warrior whose mother was killed by Portuguese and who spent 15 years with the Whites, stays in the mountains to lead Palmares. In 1694, the Portuguese import a ruthless captain from São Paulo to lead an assault on the free Blacks. Can Zumbi keep Palmares free? (IMDB) -
O dia de Jerusa
"The Day of Jerusa" narrates the encounter between Jerusa (Lea Garcia), a resident of an old townhouse of Bixiga with the young Silvia, played by Deborah Marcal, which circulates through the traditional São Paulo neighborhood doing opinion research on soap in powder. The story emerges from observations of everyday life, to cycle through the streets of São Paulo, Brazil. (Kweli TV) -
Bixa Travesty
A documentary that follows Ms Linn da Quebrada, a black trans woman, performer and activist living in impoverished São Paulo. Her electrifying performances (with plenty of nudity) brazenly take on Brazil's hetero-normative machismo. (IMDB) -
Carandiru
São Paolo, 1992. A new doctor arrives in the notorious male prison of Carandiru, aiming to promote Aids education. Gradually we become aware of individuals within the crowd of convicts, as they come to the doctor's office for treatment. In flashback we learn the crimes that brought them to the prison. Dagger has killed another prisoner's father. Highness is a good-looking thief with a white wife and a black mistress. He has taken the blame for a fire set by his jealous wife. Chico is a dignified older man, waiting in vain for a visit from his grown daughter. Zico, a drug dealer, was taken in by the family of Deusdete after being abandoned by his mother. Deusdete has killed the two men who raped his sister and now shares a cell with Zico. Antonio and Miro are armed robbers brought down by the jealousy and treachery of their wives. Lady Di is a transsexual who aims to marry fellow inmate Too Bad. On visiting day the partners and children of all these characters are allowed into the prison. Zico, now addicted to crack, goes crazy and pours boiling water over Deusdete. He is killed in turn by a number of prisoners, and Highness gets Ezequiel, another addict, to take the blame. There is a football match among the convicts. Afterwards a fight breaks out which escalates into a riot. Although the prisoners give up their arms, the riot squad enter and slaughter the inmates. The final titles tell us that 111 convicts were killed and not one policeman. Documentary footage shows how the prison was finally demolished in 2002. Source: Smith, Paul Julian. Sight and Sound, vol. 14, no. 4, 2004, p. 44-45. -
Cidade de Deus
Basada en hechos reales, describe el mundo del crimen organizado en Cidade de Deus, un suburbio de Río de Janeiro, desde finales de los sesenta hasta principios de los ochenta, época durante la cual el tráfico de drogas y la violencia impusieron su ley en las favelas. A finales de los sesenta, Buscapé, un niño de 11 años tímido y sensible, observa a los niños duros de su barrio, sus robos, sus peleas, sus enfrentamientos diarios con la policía. Pero él sabe muy bien lo que quiere ser si consigue sobrevivir: fotógrafo. Dadinho, un niño de su edad que se traslada al barrio, sueña con ser el criminal más peligroso de Río de Janeiro y empieza su aprendizaje haciendo recados para los delincuentes locales. Admira a Cabeleira y su pandilla, que se dedican a atracar los camiones del gas. Un día Cabeleira le da a Dadinho la oportunidad de cometer su primer asesinato. (Film Affinity) -
Ventos de Agosto
Mascaro’s film shows a place in the process of disappearing; in this case, due to climate change. It centers on two main characters: Shirley (Dandara de Morais) and her boyfriend, Jeison (Geová Manoel dos Santos). Shirley used to live in a big city but moved back to the village to care for her aging grandmother. She works as a truck driver at a coconut farm where Jeison is a coconut picker. Shirley wants to be a tattoo artist and Jeison spends his free time practicing underwater fishing. The everyday life of the characters is disrupted by the arrival of a meteorologist (or a wind researcher, as the final credits describe him—played by the director himself) who arrives in the village to study the sounds of the winds. An accident befalls the researcher and Jeison fnds him drowned at sea. As his body is never claimed, Jeison becomes determined to notify the authorities, despite the difficulties he encounters in the process. Source: Cunha, Mariana. "Bodies in Landscape: The Scientist's Presence in Viajo Porque Preciso, Volto Porque Te Amo, and Ventos de Agosto." Space and Subjectivity in Contemporary Brazilian Cinema, edited by Antônio Márcio da Silva and Mariana Cunha, Palgrave Macmillan, 2017, p. 85. -
Ôrí
While giving an overall look at the documented history of BLACK MOVEMENTS in Brazil (during the 70s and 80s), ORI tells the story of a woman, Beatriz Nascimento, activist and historian, who searches for her identity through research into the history of the "QUILOMBOS" as warrior establishments and focuses of cultural resistance, from 15th-century Africa to Brazil in the 20th century. (Culture Unplugged - watch complete film here) -
A negação do Brasil
A documentary film about the taboos, stereotypes, and struggles of Black actors in Brazilian television "soaps." Based on his own memories and on a sturdy body of research evidence, the director analyzes race relations in Brazilian soap operas, calling attention to their likely influence on Black people's identity-forming processes. (Kanopy) -
Ganga Zumba
Near the end of the 16th century, slaves working in northeastern Brazilian sugar cane mills conspire to escape to Quilombo dos Palmares, a haven for fugitive black slaves. Among the group is young Ganga Zumba (Antonio Pitanga), who rises to become head of the first revolutionary republic in the Americas. (Film at Lincoln Center) -
Xica da Silva
In the 18th century, in Minas Gerais, the Portuguese mined diamonds and gold. João Fernandes de Oliveira arrives from Lisbon with the Crown's exclusive contract for mining diamonds. He quickly asserts control, letting the intendant and other authorities know that he's onto their corruption. Xica, a slave of the local sergeant-major and possessed of phenomenal sex drive and tricks that cause men to howl with pleasure, quickly captures João. He denies her no extravagance; miners die for his greed. Eventually Lisbon hears of João's excesses and sends an inspector. José, a political radical, provides Xica refuge; her unrelenting sexual tingle is Brazil's spirit. (IMDB) -
Rio, 40 graus
Num domingo carioca, a vida é retratada através de cinco pequenos vendedores de amendoim. Em Copacabana, Pão de Açucar, Corcovado, Quinta da Boa Vista e Estádio do Maracanã, pontos turísticos da cidade, eles procuram compradores para seus produtos. O calor escaldante de 40 graus acaba por unir as aflições dos moradores humildes, que buscam algo de melhor para suas vidas. Depois de um dia atribulado, a alegria de viver toma conta de suas vidas, quando participam do ensaio geral das Escolas de Samba. (Cinemateca Brasileira) -
Macunaíma
No fundo da mata virgem nasce Macunaíma. Nasce diferente, a mãe acocorada deixando cair o feto preto, de cabeça. Corre em selvagem alucinação pela mata, de preto virando branco, e depois deixando o sertão em troca da cidade na companhia dos dois irmãos, Jiguê e Maanape. Na cidade, estranha e hostil, segue o mesmo caminho zombeteiro, conhecendo e amando a guerrilheira Ci e inúmeras outras mulheres, enfrentando o vilão milionário Venceslau Pietro Pietra, na busca de reconquistar a pedra mágica que herdara de Cy, a muirakitã. Depois de tumultuada aventura urbana, consegue reaver a muirakitã e deixa o caos da cidade, voltando para a selva cheio de quinquilharia citadina. Mas sua disposição em ser ladino não se adapta mais ao ambiente e, por isso, é abandonado por seus irmãos. Sozinho e faminto, mas sem disposição para caçar, Macunaíma relata suas aventuras para um papagaio até o dia em que uma súbita vontade de brincar o faz cair nos braços da Iara. (Cinemateca Brasileira) -
Os Inquilinos
Durante os dias de atentado do PCC em São Paulo, a realidade de uma família de periferia é alterada com a chegada de três jovens barulhentos que alugam a casa vizinha. Valter, Iara e seus dois filhos pequenos passam a dormir mal. Valter, empregado em uma banca de frutas, se atormenta com as mudanças no cotidiano de sua rua, que conhece apenas pela narrativa de Iara. Iara, desde a chegada dos novos inquilinos, lhe parece cada dia mais bonita. Logo, eles percebem que os três rapazes fazem parte do crime organizado. O uso da violência parece ser inevitável, e eles começam a se sentir acuados. (Cinemateca Brasileira)