Tatu Filmes

In less than ten months, the music band Mamonas Assassinas went from being completely unknown to becoming one of the biggest phenomena in Brazilian music. Irreverent, intelligent, sarcastic and creative, the band took over Brazil and sold two million albums in just six months. Never-before-seen footage and interviews from family, friends, producers, and musicians tell the band’s story, their challenges, their rise to fame, and the tragic aeroplane accident that killed all its members in 1996.

Hillbilly has one single dream in life: eat beef. He finds a little maid who's anxious to marry, and promises him: in their wedding party, her father would kill an ox.

A trip throught brazilian 60's/70's hippie universe.

From its very title, Cláudio Kahns and Antônio Paulo Ferraz's Santo e Jesus, Metalúrgicos is crystal clear about where it stands and about its messianic flair. Through a wordplay with the religious connotation of the names of the two men, murdered during the worker strikes of the late 1970s in São Paulo, it associates sainthood and Christ himself with the working class. That association is reaffirmed throughout the film, from the very beginning, including by a priest. The martyrdom of metalworkers Nelson Pereira de Jesus and Santo Dias da Silva is the starting point to denounce the working conditions faced by factory workers, and the repression which ensues whenever they try to resist them. However, the film also presents us with the 'official' version of the facts, going so far as to feature interviews with the man who killed Nelson. Obviously, it sides with the workers, as it conveys the strength of the oppressed and the impudence of the oppressors.

An attentive and time-consuming observation of the daily life of workers in a hat factory - entering the factory, the rhythm of the machines, the rhythm of manual work, the steam, the brief and precious break for lunch, the mechanical gesture of the worker repeated over and over again countless times, the silhouettes of bodies. The only foray into direction by the prolific photographer and art director of Brazilian cinema, Adrian Cooper.

Filmmakers Cida Aidar and Inês Castilho met as part of the feminist collective that edited the newspaper Nós Mulheres between 1976 and 1979. Filmed during 1981 in the Boca do Lixo region of São Paulo, infamous for its porn cinemas and brothels, the documentary fiction 'Mulheres da Boca' reveals the lives of sex workers on their own terms, as they are captured between seduction, play, and violence, against the backdrop of the corruption and abuse exercised by those who ran the Boca de Lixo.