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A Black Brazilian family in the city of Belo Horizonte, tries to rebuild their home after a recent loss. Caught between memories and nightmares, and unable to express what they feel to each other, a mother and her children shield themselves from the pain of grief through their individual routines. Only the youngest child understands the secret that the house holds within its four walls and tries to reveal it to the others, only to fall on deaf ears. Finally, confronted with the truth, they face the deep roots of their grief and come together to traverse this moment with love and courage.
After having invaded liquid, gaseous and solid substances, a strange voice takes possession of a woman's body and for the first time experiences the taste of something truly human. Together, the voice and the body seek for belonging and an identity of their own as they question their roles within society.
Ficções Sõnicas #2 is a film-play made in downtown São Paulo, during the pandemic. In history, they occupy the Municipal Theater and rehearse a play without an audience, in a search path that awakens them from the inaction and automation of sensitivity. The film-play is part of the Sonic Fictions Project, idealized by Grace Passô, where a series of artistic creations are made to experience children and act on the basis of black lives in diaspora.
One night, a Brazilian woman wakes up in a country exhausted from violent acts. Republic is a short film realized at home, in the beginning of 2020s quarantine, in the center of São Paulo, República neighborhood.
“I need you to listen to me!”, Medea says in her first speech in the play. And among expatriates and immigrants, in a feverish state, she speaks. To and for the women—the Syrian, the Cuban, the Paulista, the Jewish, the Haitian—her accomplices. In the light of the myth of Medea, we are invited to visit different territories in a reflection on our time and its borders, creating a new ending for the myth.
Ficções Sônicas is a sonic imagination of the radio play Pra Dar Um Fim no Juízo de Deus, by Antonin Artaud, immersed in the notion of non-place of diasporic experiences. Triggered by the term developed by the writer Kodwo Eshun, the work brings together the musicians Barulhista, Maurício Badé and Thelmo Cristovam in different musical tracks, dialoguing with the voice of Passô. “It is to make the future vibrate in this ancient text that always had the future in itself. It is an evocation of words resistant to the automation of sensibility. It’s a meeting between aliens.”
Set in an office of a psychoanalyst, the series follows the professional and personal day-to-day work of therapist Theo. Displayed daily, each episode of the plot is marked by the story of one of his patients, and the last episode of the week will always bring an assessment of Theo's by his supervisor Dora.
After three years locked up for a crime he didn’t commit, former police officer André Câmara is back on the streets working as a bounty hunter and determined to prove his innocence. Gripping, south American sizzler charting the action from the mean streets of Brazil to the bedrooms of the law enforcers.
Camila is a Portuguese therapist who works at Rio de Janeiro State University, where she attends Glória, the university's elevator operator. Throughout the sessions, Camila faces a very violent reality, since Glória was raped by her own father as a child and her brother Jonas is a dangerous bandit that is in prison. Increasingly frightened by the reports she hears, she feels threatened at the same time that Glória sees her as essential in her life.
In a small village, a lonely fisherman yearning for a son is drawn to an ethereal light that links him to others and their long-buried secrets.