Bananeira Filmes

Mexico City, November 1901. The police raid a private home where a secret party is being held. Among those attending is the son-in-law of President Porfirio Díaz.

In a remote South American colony in the late 18th century, officer Zama of the Spanish crown waits in vain for a transfer to a more prestigious location. He suffers small humiliations and petty politicking as he increasingly succumbs to lust and paranoia.

By day, Mari and her friends broadcast their spiritual devotion through pastel pinks and catchy evangelical songs about purity and perfection, and by night they form a vigilante girl gang, prowling the streets in search of sinners who have deviated from the rightful path. After an attack goes wrong, leaving Mari scarred and unemployed, her views of community, religion, and her peers begin to shift.

The sierras of southern Brazil, 1963. The son of an French man and a Brazilian woman, Tony is a young man with a profound love of cinema and poetry. After graduating from college he returns to his small town in rural Brazil, to find out that his father had left for good, back to France. Tony then looks for the company of his fathers friends in search of information and references of a lost male role-model. He becomes a school teacher and a male figure to kids, in an attempt to provide them with something he lacks himself. A series of developments lead him to a surprising final lead on his fathers' whereabouts and reasons for leaving.

Kaí is a mysterious shaman who emerges from the Rio Paraná to help a poor farmer and his daughter, who are threatened by a band of cold-blooded mercenaries hired to force them to sell their land.

The life of the owners of Circus Esperança, Puro Sangue e Pangaré, father and son, who plays two clowns. At a certain point, Pangaré starts showing tiredness and sadness for being an unhappy clown.

The aspiring actress Marivalda, her husband Wanderley, a bankrupt insurance broker and a false priest do their best to get along in life. But they end up in the hands of a drug boss, whose daughter they promised to save the life of, hit in a shooting at a party in São Cristóvão. A huge cash reward is at stake and now all three have to chase the promised miracle.

"Fim do Sem Fim" is a feature-length documentary that has as its backdrop the imminent disappearance of certain trades and professions in Brazil. Shot in 10 Brazilian states, the film is a dive into the inventiveness and resistance of men in the face of technological and cultural changes.

A chronicle of a bloody war that pitted the inhabitants of the hamlet of Canudos, led by their prophet, against the army of the young Brazilian Republic in 1897.

Maternity is instinctive or is it a social construction? How can a period surrounded by expectations of happiness and achievement be, at the same time, such an anticlimax, so exhausting and melancholy? A director-mother talks to other mothers about the maternal instinct, guilt and loneliness, reflecting on the complexities and riches of maternity.

A small group of artists travels the Brazilian backlands presenting a show. Upon arriving in a small village, they find an abandoned city with houses, a church, and a fountain spouting clean water, like a miracle of a biblical desert. Tired of and battered by their life as wanderers, the artists decide to settle in the village and start a new community, assigning themselves different roles from those they have played throughout their lives. This new arrangement, however, will reveal these artists the worst vices of the civilian life.

Kelly is an electronic forró singer in search of ascension. She does shows in the backlands of Brazil, but does not have many opportunities. For her career to become a success, she ends up killing some people along the way. Investigated for the murder of three men, she uses her itinerant presentations as an escape tool as she becomes known as Serial Kelly.

Fictional Documentary. A dancer in one of the paintings by Edgar Degas one day stepped out of the canvas, conquers the world and disappears during the carnival in Rio; mix of the academic universe, avant-gard art and the underworld sex scene. The movie was shot in Paris, NY and RJ.

Caio is 40 years old and lives in the Rio de Janeiro's countryside, where he owns a scrap-metal yard. On Christmas' Eve, he goes to the capital to visit his family and friends. Finally he will be able to meet a man he has not seen for a long time: himself.

Barra da Tijuca, West Side Zone of Rio de Janeiro. A wave of murderers plague the area. What starts off as a morbid curiosity for the local youth, slowly begins to spoil away at their lives. Among them is Bia, a 15-year-old girl. After an encounter with death, she will do anything to make sure she is alive.

A small poor community called Javé is under threat of being flooded by a new dam that is being built, and the only way to prevent this is to prove the town's historical value. As most of the inhabitants are illiterate, they have no choice but to ask for the help of Antônio Biá, a man who has been ostracized ever since it was discovered that he had sent out letters with lies about their reputations as a way to keep his job in Javé's seldom-used post office. He now has the task of documenting people's memories of how the city was founded, yet each inhabitant has his or her own version of what happened.

The living call for revenge. The dead minerals and vegetables demand revenge. It is the hour of general protest. It's time for the destroying flights. It's time for the barricades, the shootings. Famines, desires, cravings, lost dreams, miseries of all countries, unite.

"All Paulos in the World" is a cinematographic essay about Paulo José, one of the greatest artists in Brazil, in the year in which he turns 80 years-old.

On the border between the real and the fantastic, between the colonial past and the overwhelming modernity of agribusiness, the city of Goiás is the scene of the meeting between the young Fernanda and her secret roots. She returns to the home of her wealthy uncle, after the death of her adoptive mother, in order to implode the certainties and to reveal the painful truth about its origin.

ZAMA (2017, Lucrecia Martel) didn’t come alone. It brought with her a shooting journal written by Selva Almada –El mono en el remolino– and this documentary by Manuel Abramovich, who, as a sound intruder, captured the meticulous work of the director from Salta and the warm, human, joyful precision.