Kondzilla

Set in a dystopian Rio de Janeiro, where the urban reality consumes the mental health of those on the periphery. The plot follows a young man who did not choose conflict, but is forced to inhabit it. On screen, the protagonist manifests in simultaneous versions (child and adult), drawing on elements of nature and ancestry to re-enchant a dehumanized world. The visual construction leans into an aesthetic that oscillates between the hyper-realism of urban textures and the metaphorical distortion of a world in collapse, creating an experience that is simultaneously visceral and poetic. Although it visually engages with the urgent themes of our time, the aesthetic of armed conflict functions as a metaphor for the invisible battles each person faces within themselves. The final revelation reframes the entire journey: the war the protagonist moves through does not take place in the outside world, but inside his own mind.

Three brothers grow up under the same roof in the outskirts of Sao Paulo and take three different paths: one becomes a musician, one becomes a lawyer, one enters crime. Told in three acts - the music, the crime and the justice - the film follows how far they drift apart and what still binds them together. Shot over four days between Heliopolis and Sao Bernardo do Campo, it accompanies the second album by Brazilian artist Hodari.

With the stories of Aline Souza, Elaine Torres, Eulária de Jesus, Liane Pereira, Loanda Rufino and Rosimeire Miranda, the special highlights the protagonism of mothers in the favelas of Brazil.