Os Mistérios de Brasília

A Culpa é do Sol

Dajori

The protagonist of Dajori (mother in Romani) is forty-five-year-old Marie Hučková, who lives with her husband in Varnsdorf. After her younger sister Iveta ends up on the streets with her nine children, she decides to take her own fate and theirs firmly into her own hands and attempts to break out of the vicious circle of poverty that characterises their hometown. This sensitive film, which captures three years of a newly formed family's life together, follows the small joys and daily challenges of caring for others and asks whether a mother's love can overcome the dysfunctional system in which socially excluded localities find themselves.

Dům bez východu

The director Tomáš Hlaváček is loosely building upon the time-lapse documentary Housing Against Everyone, in which he captured the dispute surrounding the Rapid Re-Housing project in Brno. The topic of decent housing for families in need is also addressed in The Impossibility. People occupying rental apartments in Brno's “Kuncovka” wanted hot water, electricity and fair negotiations. Instead, they received bullying and threats from the owner, who, in his own words, “does not like coloured people”. Neither the police nor the city helped them. So they joined forces with activists and lawyers to fight for their rights. Hlaváček chronicles the months-long conflict with its legal follow-up as an engaged observer.

8/1 – A Democracia Resiste

Unpublished images and exclusive testimonies from the main figures in power who tell how they faced the coup threat of January 8, 2023, a recent trauma in the country's history and revealing something that still remains hidden.

Memórias Submersas

L'Homme de Rio

French military man Adrien Dufourquet gets an eight-day furlough to visit his fiancée, Agnès. But when he arrives in Paris, he learns that her late father's partner, museum curator Professor Catalan, has just been kidnapped by a group of Amazon tribesmen who have also stolen a priceless statue from the museum. Adrien and Agnès pursue the kidnappers to Brazil, where they learn that the statue is the key to a hidden Amazon treasure.

Anitta: Live in Brasília

O Ridículo

Rebels on the surface, retrogrades in essence. “The Ridiculists”, a duo composed of the eccentric and explosive, “The Ridiculer”, and his faithful squirer, “The Talker”, roam through the Brazilian capital breaking into homes, committing murders, as they create a legion of blind supporters along the way.

O Senador

Senator Arthur Alencar leads a double life. In the media and to his constituents, he portrays himself as a family man and a defensor of morals and good values. However, behind the spotlight, he is entangled in corruption schemes and maintains his sexual toy, the young Renan. But everything changes when Renan meets Victor, a daring journalist who will stop at nothing to expose the senator.

Encruza Braziliensis

Letícia

During a work meeting at a hotel, Gustavo, a real player, meets the charming Letícia, who has an intriguing personality. Marked by the encounter, he sees his life change abruptly, making him question his own nature.

Underground Urbano

Verônica

O Lado do Outro

Two teenage boys are cursed by a witch to swap bodies after an accidental encounter. To break the spell, they must work together before the switch becomes permanent.

A Cidade de Cassiano

A short documentary about the works of Cassiano Branco, a modernist architect from Portugal

Kosmologisch - Die Entstehung Des Himmels

Kosmologisch - Vom Stein Zum Leben

A Train Arrives at the Station

“This film was a gift to me. I make no claims for it, nor do I offer any apologies. It comes from work on The Thoughts That Once We Had. There was one shot we had to cut whose loss I particularly regretted. It was a shot of a train pulling into Tokyo Station from Ozu’s The Only Son (1936). So I decided to make a film around this shot, an anthology of train arrivals. It comprises 26 scenes or shots from movies, 1904-2015. It has a simple serial structure: each black & white sequence in the first half rhymes with a color sequence in the second half. Thus the first shot and the final shot show trains arriving at stations in Japan from a low camera height. In the first shot (The Only Son), the train moves toward the right; in the last shot, it moves toward the left. A bullet train has replaced a steam locomotive. So after all these years, I’ve made another structural film, although that was not my original intention.”

Heidelberg - Der Film Zur Stadt