“Rio 2096 – A Story of Love and Fury” is an animated film that portrays the love between an immortal hero and Janaína, the woman he has been in love with for 600 years. As a backdrop to the romance, the feature highlights four phases of Brazilian history: colonization, slavery, the Military Regime and the future, in 2096, when there will be a war for water.
Claé and Bruô, secret agents from enemy Kingdoms of the Sun and the Moon, must overcome their differences and combine forces to find the Perlimps and infiltrate into a world controlled by Giants where war is imminent.
Rosa is in her late 30s, a child of the 1970s with divorced parents. She lives with her own family in São Paulo. Overwhelmed by an eruption of individual passions, lies and the expectations of three generations, she tries to discover who she really is.
Neto is a middle class teenager living a normal life. After his father finds a marijuana cigarette on his pocket, he is sent to a mental institution, where he gets to know a completely absurd and inhumane reality in which people are devoured by a corrupt and cruel system.
Everyday family life as perfectly normal madness. “As Melhores Coisas do Mundo“ follows a few days in the life of the 15-year-old Mano, who is fighting on two fronts: his parents have just got divorced and he is going through puberty. Mano tries to make his way through life, with its first sexual experiences, his depressed brother and his self-centered parents. It’s a humorous homage to the pitfalls of daily life and the diversity of life.
An evening in an old time dance hall in Sao Paulo introduces us to local characters who reminisce about the past, wonder about the future, have fun, flirt, fight and, of course, dance. Its earthy humour and eternal themes of ageing, loneliness and desire is an antidote to grumpy old men and women everywhere.
Idealized by the filmmakers Lais Bodansky and Luiz Bolognesi, the documentary portrays the projects executed by the Buriti Institute and Buriti Films in 10 years of work. Since 2004, projects collect impressive numbers: 116,509 kilometers were driven on roads, which led to 759 outlying neighborhoods, where they were made 7439 film sessions to 1,355,403 brazilians. Eighteen states and the Federal District were visited by Cine Tela Brasil, who put brazilian various ages for the first time in a movie theater.
The story of Brazil’s first emperor, returning to Europe on board the English ship Warspite. The trip makes Pedro conquer his fears and face his life from a personal point of view. He goes back in time and relives outstanding moments of his earlier life – since his childhood, when in 1808 he arrived coming from Portugal with his family, until he left in the dead of the night, in 1831, running away from Brazil.
Laís Bodanzky and Luiz Bolognesi travel around the small cities of Brazil, exhibiting short films in public squares. From the south of Bahia to the farthest parts of Amazon, this documentary discovers a country that watches a movie and sees itself on the screen for the very first time, in the turning of the 21st century. What’s seen and heard is truly surprising.
Written and directed by Luiz Bolognesi, this short film tells the adventures of two homeless men on the streets of São Paulo. The film was inspired by old popular legends about the wandering of Jesus and Saint Peter around the world.
The documentary Olympic Women, directed by Laís Bodanzky, shows that the history of women in sport is often entwined with the history of women as a whole. While so many Brazilian women were fighting for the right to vote, to divorce, and the right to free speech, some were fighting for the right to be present at one of the biggest events on the planet: the Olympics. And something that should have been simple and natural, was not. Some Olympic appearances were dramatic. Others, isolated and lonely. Just as in society, women in sport had to earn their rights by force.
Fernanda likes to play football with the boys. But for this tomboyish, the apogee of his intimacy with the ball is to make it fly straight, direct, to the bag boys. Then she smiles. One day she comes running to the hit-ball, delayed but can not find anyone. The boys are in hiding. Fernanda knows where it is, but can not imagine what they plot!
What is Bia’s husband’s credit card limit?
In a very subtle and poetical way, the director Laís Bodanzky conducts the spectator’s view through rhythmic streets and boulevards, where the steps seem to diverge from reality itself. But these paths, one day, won’t be the same any longer...
