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Tres amigos, Hilda, Matilda y Gaspar, se reúnen en un destartalado apartamento del centro de la ciudad durante un fin de semana para charlar, beber y experimentar el placer.

Áurea is a sentimental older woman, who befriends teenager Áureo. They like each other, so she talks to him about herself, her spirituality, mysticism and existence itself. They become inseparable, so his jealous mother confronts her.

Inspired by Jorge Luis Borges' The Disinterested Killer Bill Harrigan, Garoto follows a young couple who find themselves in an enchanted place where they experience an amorous and spiritual adventure. A girl, a boy, a murder, some great landscapes, the sound of wind. Like a young couple on the lam film shot by Straub/Huillet. It achieves a beauty few films can.

"If you had to choose between me and your mother, who would it be?" Capitu asks provocatively of her problematic lover. Elsewhere, they dance to inaudible music, with their friends, each couple keeping to a rhythm of their own. At times, this depiction of the memories we see one Dom Casmurro commit to paper with a flamboyant pen seems to be an interplay of conflicting emotions - particularly when jealousy raises its head.

A delicate and tenacious writer, widowed three years ago, engages in frequent conversations with a parrot. However, she's always observed by a large portion of raw meat.

The mythological story of the first woman on Earth, who came before Eve. She is created by God to be Adam's wife. However, Lilith does not accept a position of inferiority in relation to man, she rebels and goes to the desert.

A curious couple, whose existence takes place where art arises along a singular metaphysical desire. They search for it through repeated and varied representations, in a setting of light where hope and desperation blend together.

In this 7-hour-plus behemoth, Bressane re-edits his complete works, moving backwards and forwards between decades. The '60s, the '80s and the 2000s comment on each other in a way that sheds light on the director's themes and obsessions.

In his film Rua Aperana 52 Júlio Bressane describes the invention of a landscape, the topology of a corner of Rio de Janeiro. The film consists of a series of photographs taken between 1909 and 1955 by, among others, Bressane's parents at and around the address used as a title. These are interlarded with scenes from films made between 1957 and 2005, bringing the total fictional time the film covers to almost a century; one hundred years in which the winding road featured in almost every shot structures the new landscape behind the Aperana, which means 'wrong road'. Rua Aperana 52 is autobiographical, as it is a landscape from Bressane's youth, but it is also not so; it is more a multi-subjective mythology of a place seen through all those films and photographs. Bressane refers to his editing as an intuitive form of thinking aimed at evoking moods which make the viewer the new witness of the fictional landscape. A fiction about a fiction.

A young couple, Pedro and Antônia, have their relationship weakening after meeting Luana. Romance, seduction, fear and anguish from the future are established in this story of liquid love.

The Mayor of Rio de Janeiro wants to make history. In order to do so, he decides to separate his city from Brazil to found a new country.

Joana D'Arc, a former public school teacher in Rio de Janeiro, tries to recover her home, lost to the City Hall. The trajectory is shared by the pirate fisherman Pharaó, from Guanabara Bay.

After 10 years away from the city of Rio de Janeiro, Marina receives a mysterious postcard that makes her return to the city. Not knowing clearly the reasons that made her return, she looks for answers.

A joy for the eyes and ears, this high-point of the Brazilian trilogy Operation Sonia Silk. A dreamy making-of about the two other episodes and also a cinematographic essay (in picture, text, sound and music) about cinema and filmmaking and, above all, about love. 'What is this thing called love? This funny thing called love? Just who can solve its mystery? Why should it make a fool of me?' So goes the short, poetic synopsis provided by the filmmakers Bruno Safadi and Ricardo Pretti for this third part of their trilogy Operation Sonia Silk. In this 'operation', shot in three weeks, the directors each separately made one part (Harmonica's Howl and Rio Belongs to Us, both shown at IFFR 2012), and then this joint third part, which grew into a surprising high-point. A joy to watch and hear, a film that occasionally looks like a making-of, occasionally an essay and always as a homage to cinema and love in text, sound and vision: 'verbivocovisual', as Brazilian form poets call that. The whole thing breathes the atmosphere of romantic Hollywood films from the 1930s, but is equally influenced by the Cinema Marginal directors Bressane and Sganzerla. Young star actresses Leandra Leal and Mariana Ximenes worked in the film for free.

The film Origem do Mundo is a 68-minute poetic documentary that seeks to rescue and reveal Brazilian pre-historic inscriptions through the eyes of the traditional culture, folklore and legends around the subject.

After his film about the latter days of Nietzsche in Turin, plagued by insanity, Júlio Bressane returns with philosophy as subject for this travel essay. In the pure air of the Swiss Sils Maria, where he spent many summers, Nietzsche found rest for his swirling thoughts.

Antônio wants to give his girlfriend, the prostitute Ioiô, a star. He meets a salesman who claims he can get one for him, with certificate included! After many negotiations, Antônio finds out he has been taken in.