Maeve Jinkings

A woman married to a former politician during the 1971 military dictatorship in Brazil is forced to reinvent herself and chart a new course for her family after a violent and arbitrary act.

Clara, a vibrant former music critic and widow with flowing tresses is the only remaining apartment owner in a beautiful older building targeted for demolition by ruthless luxury high-rise developers. Clara proves to be a force to be reckoned with as she thwarts the builders plans to kick her out of the apartment.

Suellen is a toll booth attendant who starts using her job to help a gang of thieves steal watches from people driving to the coast. But only for a noble cause: to send her son to an expensive gay conversion workshop.

Veronica, a young woman, lives in Recife, one of the most violent cities in Brazil. Her life is filled with fleeting love affairs and passing romances. As her father feels his death approaching, he asks a favor: that she finds true love before he passes away.

Iremar works at the rodeo in North East of Brazil. From his home, the truck he uses to transport the animals, he dreams of a future in the region's booming clothing industry.

In 1965, a year after the military coup in Brazil, an oasis of freedom opened in the country's capital. The Brasília Film Festival: a landmark of cultural and political resistance. Its story is that of Brazilian cinema itself.

Downtown Recife’s classic movie palaces from the 20th century are mostly gone. That city area is now an archaeological site of sorts that reveals aspects of life in society which have been lost. And that’s just part of the story.

An independent private security firm arrives at a middle-class neighborhood in Recife, Brazil.

A marginal version of Brecht’s piece, “Baal”.

Following in the footsteps of her idol and bandmate Jaqueline, Shelly intends to become a great singer of Brega. She enters show business in search of fame and fortune but, inserted in a world where everything is disposable, including love and human relationships, she will encounter great difficulties to achieve fame.

Isabel is a babysitter pregnant of her own child and can't wait to be a mother. Until she meets Joana.

Duetto takes place in 1965 and tells the story of 18-year-old Cora, a Brazilian from an Italian family who, after losing her dad in a tragic car accident, goes with her grandmother Lucia to Puglia, Italy, where her ancestral homestead still stands. Lucia, aiming to sell an old family land lot, reencounters her sister Sofia and her husband Gino, whom she hasn't spoken to in 40 years.

In the Brazilian countryside, a family straining to care for their bedridden patriarch have their lives changed when a shady nurse offers a diabolical deal: put their elder to rest and host an Argentinian drug kingpin who urgently needs a place to hide.

Bethânia returns to her land, where the family’s old sugar mill was built, the Wanderley Mill. Between photographs, fantastic creatures, bills to pay and workers claiming their rights to the land, Bethânia faces herself in a present where both the past and the future look menacing.

Down on his luck and recently divorced, Paulo has begun driving a cab around Rio, hoping he’ll make enough to send his ex money to support their ten-year-old son. He mostly works nights, so in addition to his encounters with a colourful variety of customers, colleagues, cops and others, he must cope with loneliness, fatigue and new faces in his life.

Silmara, an industrial worker and a woman of exuberant beauty, supports her arsonist father and gets involved with two different pop stars, from whom she learns traumatic life lessons.

A short film omnibus featuring the work of five directors representing five countries involved in the 2017 BRICS summit, an annual international relations conference held between Brazil, Russia, India, China and South Africa. The collection—taking the concept of time as a unifying theme—depicts the economic, political, and social alienations and contradictions that create, compound, and structure issues as wide-ranging as poverty, class stratification, and homeless; familial distress; spousal abuse; and natural disaster.

Summer 1996, north-east coast of Brazil. Tamara is enjoying her last weeks at the fishing village she lives in before departing to Brasilia for her studies. One day, she hears about a teenager nicknamed Heartless after a scar she has on her chest. Over the course of the summer, Tamara feels a growing attraction for this mysterious girl.

Dirceu, 30 years old, has origins that go back to the aristocracy of Northeast Brazilian backlands. Settled in a kind of subjective amnesia, Dirceu tries to bury his family's past. He is a demolition man in Recife, an urban landscape undergoing an uncontrolled process of transformation. Maria shares the same country origins, but she uses the city for a different purpose. She is a carefree and joyful music student. If Dirceu aspires to a world that is stable and present, Maria lives in discord with the present. To her, nothing is as it should be. Maria's apparition unleashes in Dirceu an urge for being somebody else. On a route of escape through the desert of the backlands, a unique encounter is set to happen. Boa sorte, meu amor (Good luck, sweetheart) is an anti-romance of the impact between music and silence.

The story of a family who has their lives crushed by the tragedy of the floods in Mariana (Minas Gerais, Brazil)

André is a broken man, who lives isolated in a forest. The forces of nature embrace his body as he drowns in his effervescent inner world. Between the insomnia and the dreams, André is haunted by his past. He wishes to deconstruct himself, heal his sorrow and take the responsibility from his acts. He puts himself before the abyss where he must embrace his ghosts and change his skin in order to survive.

The cinema of Pernambuco is considered one of the most complex components of Brazilian cinema, particularly for its potency and creative style. The presence of women in filmmaking seldom holds the same historical notoriety as that of men, and the Pernambuco scene is no exception. In the context of "Amor, Plástico e Barulho" (Love, Plastic, and Noise), we find a film that serves as a testament to the marginalization of women in the creative industry, intertwining themes of consumption and the production of brega music. Hence, we use "Feminino e Barulho" (Feminine and Noise) as a means to share what we've learned. Renata Pinheiro has inspired us to craft a narrative that gives voice to those who need to be heard. We are here to showcase a glimpse of them and what they represent. "Feminino e Barulho" is a short film about love, femininity, sisterhood, and empowerment.

​Nádia is a transvestite who wants to be a mother. She will be a mother. She is a mother.

Mr. Cavalcanti is a man in his nineties with iron health. After a setback that deeply challenges him, he embarks on a journey to regain his independence and social standing.

Léo goes on vacation at his cousin's, in a fishing village. There, he meets a girl who goes by the nickname Heartless.