Jewish lovers (Rupert Everett, Stefania Sandrelli) and a homosexual doctor (Philippe Noiret) fall to prejudice and scandal in 1938 Italy.

Deraldo, a popular poet from Northeast Brazil, arrives in the capital of São Paulo, making a living only from his poetry and pamphlets. All is well until he is mistaken for a multinational worker who killed the boss at a party where he received the title of symbolic worker.

Two friends hit the road to Buenos Aires aboard an orange Opala 72, with a mission: be with as many women as possible. This is all a plan to wash the honor of "Caco", a man who found his girlfriend in bed with an Argentine.

The impact of graffiti as a cultural phenomenon in the city of São Paulo and its international influence as one of the main currents of Street Art The film participated in the exhibition Ne dans la Rue (Born in the Street), the Fondation Cartier pour l'Art Contemporain in Paris. The documentary shows the reality of taggers, accompanies some actions, conflicts with the police and shows a different view of some interventions already much exploited by the media. The film does not provide answers, but provides arguments for the debate: is graffiti art or a crime?

Célio Rocha believes he was assigned by God Himself a difficult mission: to persuade his childhood friend Otávio Sabóia, a corrupt entrepeneur in the construction business, to give away all his possessions to the poor.

Teenager Joana feeds her soul with literature and rock. In 1979, when amnesty is granted in Brazil, she's forced to move with her family from Paris back to the country she barely remembers. Back in the city she was born in, and where her father was forcedly disappeared, she recovers pieces of memory from a fragmented childhood in Rio de Janeiro. Not everything is real, not everything is imagination. And as she remembers, Joana must write her own story in the present tense.

In tropical Recife, in northeastern Brazil, temperatures drop to impossible lows and the inhabitants have to adapt. This 'mockumentary' gradually turns critical, looking at the climate, urban development and social interaction from every angle. Does a ray of sun pierce the clouds, after all?

A little fisher village in Brazilian Amazon. Without aparent reason, the dweller start falling ill. Would it be a witchcraft? Felício looks desperatelly for the cure to save the life of his wife.

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.

Otavio is an idealistic union leader trying to organize workers at a factory to resist the company's exploitative practices. His son, Tião, one of the employees, is more of a realist and doesn't want to risk losing his job by striking. This clash of perspectives puts the father and son at odds. Fortunately, Tião's mother, Romana, is on hand to act as a moderator between the two opinionated men.

During the seventies, the massive arrival of television in the Brazilian countryside puts in jeopardy the business of running small movie theaters. Francisgleydisson is the owner of Cine Holliudy, and he must be extremely creative to keep his passion for cinema alive.

A new incarnation of Cangaceiro bandits, led by Coirana, has risen in the badlands. A blind landowner hires Antônio to wipe out his old nemesis. Yet after besting Coirana and accompanying the dying man to his mountain hideout, Antônio is moved by the plight of the Cangaceiro’s followers. The troubled hitman turns revolutionary, his gun and machete aimed towards his former masters.

Elias is a handsome young deputy manager in a garment factory in São Paulo. When he’s not working, he enjoys casual encounters in the big city. The arrival of a young African, Fernando, on the production line piques his interest and Elias finds himself increasingly drawn into socialising with his work colleagues.

Eldorado, a fictitious country in America, is sparkling with the internal struggle for political power. In the eye of this social convulsion, the jaded journalist Paulo Martins opposes two equally corrupt political candidates: a pseudopopulist and a conservative. In this context, Paulo is torn between the madness of the elite and the blind submission of the masses. But, in this complex tropical reality, nothing really is what it seems to be.

Five undercover cops at Complexo do Alemão, one of Rio de Janeiro's most dangerous areas, have their covers blown by drug dealers. Arrested, they wait execution or to be rescued by police forces that would risk expose a larger operation.

A restaurant owner going over the edge when an armed robbery is attempted at his establishment. He holds everyone captive at gunpoint – criminals and customers alike – and situations corrode into a nightmare state, guided by manipulation and raw compulsion.

Since the invention of cinema, the standard format for recording moving images has been film. Over the past two decades, a new form of digital filmmaking has emerged, creating a groundbreaking evolution in the medium. Keanu Reeves explores the development of cinema and the impact of digital filmmaking via in-depth interviews with Hollywood masters, such as James Cameron, David Fincher, David Lynch, Christopher Nolan, Martin Scorsese, George Lucas, Steven Soderbergh, and many more.

After thugs brutalize a deaf-mute woman, the spirit of an Apache warrior takes over her lifeless body and sets out on a bloodthirsty quest for revenge.

A lighthearted take on director Yasujiro Ozu’s perennial theme of the challenges of inter­generational relationships, Good Morning tells the story of two young boys who stop speaking in protest after their parents refuse to buy a television set. Ozu weaves a wealth of subtle gags through a family portrait as rich as those of his dramatic films, mocking the foibles of the adult world through the eyes of his child protagonists. Shot in stunning color and set in a suburb of Tokyo where housewives gossip about the neighbors’ new washing machine and unemployed husbands look for work as door-to-door salesmen, this charming comedy refashions Ozu’s own silent classic I Was Born, But . . . to gently satirize consumerism in postwar Japan.

In an effort to improve feminine hygiene, a machine that creates low-cost biodegradable sanitary pads is installed in a rural village in Northern India. Using the machine, a group of local women is employed to produce and sell pads, offering them newfound independence and helping to destigmatize menstruation for all.