Aruac Produções

Using home movies and other media, a filmmaker returns to Sintra, Portugal to search for memories of her late husband, Brazilian filmmaker Glauber Rocha.

Intervalo Clandestino is a documentary that seeks to translate the state of mind of the Brazilian people in the face of the country's social and political reality. The film seeks to show the role of politics and its practical effects on citizens' lives. A broad reflection emerges in the anonymous voices surprised at random in the crowd. They are ordinary people, from different professions, with different visions, who speak to the camera about their impressions, desires and frustrations, discussing politicians, voting, corruption, distrust and the future of Brazil.

She menage to save from a fire a bunch of pictures and a diary written by hand. Those words and faces becomes the last traces left from the man she one day knew and loved. Crossing mountains and roads, she tries to remake his steps. The places she vists bring people, gestures, memories and histories that slowly become part of her life.

Vera and Gabriel, an elderly couple, navigate through past and present, telling their own life story. Their remembering, rendered in images from family archives that confound themselves with images of the present, suggests a personal diary on love and death.

A film like a monument: Luz nos Trópicos is a tribute to the rich greens of the Amazon and the forests of New England in winter, celebrating the indigenous peoples of continental America and flowing as a film as freely as a winding river.

Studies on sound based on the work of musician Arto Lindsay and the relationship of the body/camera with music. The film discusses art as lyrically as the biographee’s own work.

Igor is a teenager with a lot of potential and energy, but without the motivation to stay in school. His case reflects the situation in which many students at risk of dropping out of school live. The short shows a day in the life of this aspiring actor and capoeirista, who lives in Morro dos Prazeres.

A documentary about actress brazilian Maria Gladys, a strong presence in films by Júlio Bressane, Rogério Sganzerla among others.

La Rueda shows an everyday night in Pucallpa, a city located in the Peruvian Amazon. Colors, noises and lights are projected. Families transport their children to the amusement park. Fears, fantasies, joys and vertigo intertwine. A new world of sensations arises. The film dialogues with the most distant memories and drives of childhood and in the plots of affection between mothers and children.

Drylands could be anywhere, just as Marcélia Cartaxo could be many women (including herself). The actress is placed in a situation in which she encounters nature and other female figures, in some instances, her doubles. Out of these encounters spring other possibilities that operate in the world of representation, which, in the film originate from the same imaginary power as children's games in empty lots.