New York, Anos 70

The tragic story of the misery and abandonment Brazilian indigenous populations have been suffering for over the last 500 years. Maksuara chronicles the wisdom of indigenous people, who live in perfect harmony with nature without destroying or damaging it.

A documentary short on Tempo Glauber, a foundation created by filmmaker Orlando Senna and Glauber Rocha's mother Lucia in order to celebrate and preservate her son's legacy.

A young woman travels to solve a matter of life or death. As she seeks to do what she needs, the city exposes itself with its curious characters.

A public relations man is invited to guide an American millionaire during his stay in Rio de Janeiro. He gets involved in the most bizarre situations, from orgiastic mega-parties to confrontations with the police, meetings with drug dealers and movie stars, facing corruption and even murder.

A poetic film essay on Gigoia Island, Rio de Janeiro, and its people, fauna and flora.

An excerpt from Neville D'Almeida's debut feature "Jardim de Guerra" (1968), focusing on the Black Power speech made by a character played by Antonio Pitanga.

Neusa Suely, a prostitute, is accused by her pimp Vado of stealing his money. To get rid of the accusations, she blames her neighbour, Veludo. The three characters then start to live a small tragedy set in the underground Rio de Janeiro scene.

A loose adaptation of a scene from a theatre play written and directed by Thiago Justino, "Humanos Causa" shows the people of a city reclaiming their rights.

A documentary short on Glauber Rocha's mother Lúcia.

In Manhattan and Wall Street's majestic architecture, as in Rome, neoclassical, a lady in red and air characters try their luck, ambiguously posted between the mundane and some mythical transcendence.

In 1973, exiles from Brazil during the military dictatorship, the artist Hélio Oiticica and filmmaker Neville D’Almeida lock themselves in an apartment in Manhattan and fantasize a series of iconic sensory installations called quasi-cinema - experience blocks in Cosmococas. Recognized and awarded internationally, the work features slide projections on the walls of the rooms, showing some drawing sessions carried out by the artists, using, in an innovative way, instead of graphite lines, cocaine for doodling. Another pioneer was the use of a pocket knife as a brush, demonstrating the violence with which some paradigms needed to be cut and renewed. All of this in an extremely conservative period of Brazilian history, dictated by the censorship of the military regime.