Morán works as a clerk in a bank in Buenos Aires. He is as good as invisible to his colleagues. Over dinner with his colleague Román, Morán tells him that he stole exactly $650,000, which is exactly double what he would have made until his retirement. He plans to turn himself in, but not before offering Román to split the money if agrees to hide it for the duration of his incarceration.
The employer is a young man who apparently has everything going on for him except one pressing concern: his baby’s health. The employee is looking for a job to support his newborn too, so does not hesitate when the first decides to hire him to work in his lands. Both will meet their needs by helping each other. But one day an accident happens. This unexpected event will strain the ties between them, endangering the fate of the two families.
In the end, one is dead and the others are alone, although the truth is that they were already alone long before his death. Now all of this is gone and there is no point in looking back.
Aunt Neirud was always present at family gatherings. Neirud was big, strong, and worked in the circus. Who was this woman so close to the family and about whom we know so little?
Uberlândia, Minas Gerais, Brazil, February 24th 2011. Isabel Burlan da Silva, the director’s mother, is brutally murdered by her partner. “Elegy of a Crime” is the final chapter of Cristiano Burlan’s “Mourning Trilogy, about the tragic family history. Faced with impunity, the film plunges into a dizzying journey to rebuild Isabel's image and life.
The daily life of a family in which countless factors are disturbing: the father is unemployed, the members need to move house, the mother is abducted, and life continues as if nothing had happened.
In the city of Cajamar, in the middle of ruined nature, lonely characters deal with the police, rodeos and mysterious fires.
Water as a physical and metaphysical metaphor and background of human existence. A docu-fictional essay between the Brazilian Sertão-deserts and the Northern-German flood areas of Dithmarschen. Dramas and day-by-day-observations in times of climate change.
For a while, I doubted about what I felt, but the psychiatrist said I din't need any medicine. So, I decided to make a movie from it. I invited my mother and a great actress to participate. It was a ritual of turning into film what I didn't want to be just real life, or anymore. Mixing memory and invention, women and the cinema.
40 years after the beginning of the AIDS pandemic, seven artists and an activist doctor, all of them living with HIV, offer new images and perspectives to deal with serophobia in Brazil.
