Marcus is not having a good day. He never seems to have a good day. He has to smash in his rear window just to get out of his Volkswagen Beetle, having parked it too close between two other cars. He has to do all the dirty work in the office, while his spoiled rich kid colleague cooks the books for profit and shamelessly flirts with all his female co-workers. He’s attracted to his next-door neighbor who gets beaten and cheated upon by her boyfriend, but she doesn’t want to leave him. And he gets robbed at knife-point right outside his apartment building. Marcus manages to take the knife and chase away his attacker, but not before he gets stabbed in the shoulder. The incident awakens something dark in Marcus. He becomes a man with a mission, determined to set right all the injustice done to him. But ones the blood starts flowing, there’s no going back.
It's 2019: a totalitarian odyssey. Cold winds. Death pulse. Dancing and eating, with penguins and tortured humans screaming in the abyss of death. Every year they travel to the coast with the intention of dancing and then die. All over the world, there's more than meets the eye. Land and sea to share. Red, yellow, black and white. There's darkness and there's light. Sad stories are told, but it's good to be alive.
Two missionaries travel through the forest searching for the last uncontacted tribe, at the mythical city of Ragatanga. Lost and disoriented, they face supernatural threats that put their faith to the ultimate test.
In the wild island of Pazúcus, everything is hopeless. Oréstia & Omar seek to harmonize their relationship in a camp and find themselves gradually oppressed by nature, which changes from paradisiac to hellish. Simultaneously, inside Carlos’ intestines, fecal monsters plot his demise. This stomachic confusion makes him an easy prey for the obsessive Dr. Roberto. The paranoia, the sorcery, the madness and the prophetic voice lead their destinies to a place where the dissolution of all beings appears to be the only possibility of communion.
Zombies, beautiful dead girls, newly-dead and a wide variety of colorful and slimy undead invade the West of Santa Catarina, Brazil. Guts roll while "yerba mate" Cronenberg is consumed by the farmers. But the zombies aren't the biggest problem when all the humans are sadistic and selfish.
In a fictitious country, the newly elected president and first lady are faced with supernatural powers that put their love to the test.
With free eyes, an open heart, good friends and a handful of luck, Gurcius Gewdner revisits some of his adventures of the past five years, survives the relentless Russian winter and asks the following question: How far can an underground Brazilian film go?
A vampire pretends to be a hooker on Augusta St., in São Paulo, to feed on her victims, until she comes across a monster that attacks at the same address.
Guided by his doctor (or is it voices in his head?), a young director is given a mission: to go to Texas to make an abstract roadmovie (“Unfocused film! Focus is repressed!”) about the Housecore Horror Festival of Film and Music, a festival that brings together cinema and extreme music.
Malu is organising a gender-reveal party for a pregnant influencer – while dealing with her own grief, her persistent constipation problems and her adolescent transgender child (who disapproves of her job commission). At the condominium where Malu lives, some strange phenomena are unleashed in the home’s most private zone: the bathroom.
Carlos finds himself troubled by a powerful restlessness. At the same time his analyst is obsessed with the idea that he should delete Carlos in order to save his island. An island is, by excellence, a troubled territory. Piece of land separated off the mainland or territory emerging and arising from the center of the world shocks : re- integrate into the sea is the ghost that haunts all the islands. There is in this tense relationship between sea and island, an opposition between civilization and destruction, shape and inform, culture and chaos united in a loving and eschatological tribute to Carlos Reichenbach, Lucio Fulci and Andrzej Zulawski.
This little film came up during the composition of "A Nau dos Loucos", when I realized that the dubbing sessions were taking up too much space to not become a film by itself. It's our first day of reading the script and composing the voiceover, first day collectively working on Pazucus, which is when it starts to get really fun. I didn't even know that making this film (these films actually) would be such an amazing experience yet, but I already had a good idea and I was already quite happy to just spend the day recording demented narrations with Marcius Lindner, Mariana Ungaretti (who does not appear in the film, but it provided us with the wonderful sound delirium, the closest I've ever come to seeing a private concert by Diamanda Galás ) and Marcel Mars.