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The Century (O Século) is both the documentary of a performance and the documentary of an allegory. Without a human figure in view, scraps, debris, and junk are thrown dramatically from one side of an alley to the other, and then a volley begins from the other side.
A family is sitting amid what is left of their home, their belongings piled up in the open air without shelter, while bulldozers shift piles of raw material with relentless aggression. A few moments later, members of the family walk away with whatever small items they can carry on their backs, while a worker prepares the ground for the erecting of a barbed-wire fence. The persistent sound of cargo trains haunts the visually stunning but despoiled landscape in a reminder of how money never sleeps.
Living in a temporary autonomous zone, the residents spend their days dealing with small lunatic plots, quixotesque farces and rimbaudian delusions.
A tale of love and death in a world where the state of exception has become the rule and the last days of humanity never end.
The destructive character sees nothing permanent. But for this very reason he sees ways everywhere. Where others encounter walls or mountains, there, too, he sees a way. But because he sees a way everywhere, he has to clear things from it everywhere. Not always by brute force; sometimes by the most refined. Because he sees ways everywhere, he always stands at a crossroads. No moment can know what the next will bring. What exists he reduces to rubble – not for the sake of rubble, but for that of the way leading through it.
In an old, dilapidated mansion in downtown São Paulo, an old Shakespearean actor exiled from the stage lives with his ghosts. In his bed, surrounded by red curtains taken from an abandoned theater, he dreams of the plague and fire spreading throughout the country. A strange community forms around the old actor.
Based on the true story of four friends who decide to install a communal pirate radio station called Rádio Favela in a shanty-town, to give voice to the outcasts' complaints.
A street smart runner develops an intense rivalry with an equally ambitious wealthy young athlete.
94-year-old Eleanor Morgenstein tries to rebuild her life after the death of her best friend. As a result, she moves back to New York City after living in Florida for decades.
South America, 1960. A lonely and grumpy Holocaust survivor convinces himself that his new neighbor is none other than Adolf Hitler. Not being taken seriously, he starts an independent investigation to prove his claim, but when the evidence still appears to be inconclusive, Polsky is forced to engage in a relationship with the enemy in order to obtain irrefutable proof.