With a narrative design structured in three parts, each
of them about the protagonist’s relationship with a different woman, this film is a chronicle about love, death and urban melancholy. Raul is a fifty-year- old unemployed alcoholic man whose sole hope is his passion- ate love for Ligia, who has been his partner during his past years. When she leaves him, he seeks booze, contracts tuberculosis and amidst health centers and transitory jobs, he builds a sweet relationship with Cassia, a sixteen-year-old girl. When his body and mind are already very corroded by the disease, Inês appear in his life. She is the saddest woman he has ever met. A corpse that happened to end up in the boarding house where he lives through his friend Tomás. They take Inês to Janga beach in Olinda. This trip makes an unexpected affection grow between Raul and the “sad woman”, who will be thrown into the sea.

In France, the writer and former political militant from Pernambuco, Maria Eugenia (62), is preparing to travel to Brazil, hoping to find the argument of her new novel, after 40 years away from her country. In Recife, northeastern Brazil, the Sociology Professor and former political prisoner, Miguel (64), celebrates 43 years of a loving marriage to Lucy (62), along with friends, their son Ernesto (41), and their granddaughter Lina (5). In São Paulo, following a request from his great friend Rui, Miguel takes part in a debate and is surprised by the presence of Maê (the nickname Maria Eugênia was known by comrades). He hadn't seen her (his great love from youth) for decades. The return of Maria Eugenia threatens a secret hidden by Lucy for more than 40 years. After so much time, these old and deep feelings guarded for so long, blows up in this loving triangle.

Breves Miragens do Sol tells the story of Paulo (42), Unemployed, recently divorced and in debt with his ex-wife Livia, who forbids him to see his son Mateus(07). As a quick possibility of survival, Paulo has just started driving a night-cab in Rio de Janeiro. The new job makes him feel like a stranger in a convulsing city. His moment of personal uncertainty intertwines with a city under renovation and permanent reinvention of itself. As he learns the choreography of his new profession, this apparently provisory solution solidifies as his present reality. Slowly he starts opening up to the encounters, conversations and relationships provided by the cab. The fragments of stories and advices exchanged with the passengers become the narrative of his own life, weaving a broader tale about living in Rio today.

A distressed film director decides not to attend the filming of her own movie. Like its director, the shooting get stuck, in suspense. We are presented with the everyday life of someone who has nothing to do and nowhere to be. The director confronts her team, who asks her to do her job. She commits to going to the following scheduled shootings but does not show. She commits to it again, and once more she does not go. Everyday life starts to blend in with her work: exboyfriends, friends, having to work to make a living. Then, reality comes in. The lead actress has to travel, but the shooting of the film has to go on. Certain fictitious scenes replicate in real life. The (real) director decides to film herself until the actress’ return, taking on the fictitious lead role. Another layer is revealed, to be dismissed (or not) when the actress returns.

Eugenio Miranda, a 72 year old and former soccer player, is locked in a nursing home by his family against his will. Bitter because he never won a trophy, he finds an opportunity to redeem himself in a dance tournament for the elderly. Along with his dance partner Carmen, Eugenio struggles to learn the rhythms of salsa, cumbia and bolero. When Carmen unexpectedly dies on the dance floor, Eugenio makes a radical decision and starts rehearsing with their dance instructor, Daniel -- a homosexual man in his 70s. Getting close to a gay man bothers Eugenio at first, but he soon realizes that with Daniel, they have a real shot at winning. As Eugenio’s family attempts to keep him out of the competition, Eugenio faces their prejudices and his own, determined to finally lift a trophy.

In 1986, Pablo begins his career of photography. Here, he meets Renata (20), a young journalism student that catches his eye. Between the nights out and the different university activities, Pablo will hide from Renata his main militant vocation: Wandering the city of Santiago with his small photo camera portraying the different objectives demanded by a dangerous Front against the dictatorship. In summer 1992 Pablo is captured and condemned to life sentence in the high security prison in Santiago of murdering the alleged mastermind behind the military coup in Chile. Pablo´s Life is turned upside down as he is forced to study poetry weaving techniques, and writing. In 1994, a guard opens the gate: “Visiting hours”, he commands, pointing at him. Pablo receives a surprise visit, who through messages, will unconsciously help Pablo plan a quiet operation that could change the destiny of four inmates.

Four young adults live happily together: Maya, Miguel, Pedro and Diego. The boys keep fit by playing soccer, while Maya sells her cupcakes. Their relationship seems to be based in love and trust, but actually they are together by the need to get anti HIV medicine. They don’t see this fragility of their bounds, until an outsider arrives. Leandro is a very intelligent guy, obsessed by the weather forecast man on television. One day, he discovers Miguel playing soccer with the rest of the group. Miguel looks like the weatherman. Leandro decides to infiltrate the group in order to get closer to him. He pays attention to each member´s role and realizes how to play with their needs. At the end, Miguel leaves Maya to be with Leandro and the group is torn apart. However, Leandro's intentions are not based in love either.

Irina and Tami are two teenage sisters who decide to travel from Costa Rica to Panama in search of Alonso, their father, despite not having had any contact with him for over ten years. The motivations of the sisters are as different as their personalities, Irina wants financial support from her father to study aviation and Tami wishes to recognised some of her personal features in him.
During the trip, the differences between the sisters are accentuated and both have to deal with the frictions that arise between them. When they arrive in Panama City, Irina and Tami meet other teenagers. The night before seeing their father, Irina has sex in the bathroom with the boy that Tami likes, what ends up distancing the sisters. At the end, Tami and Irina spend a day with their dad. Alonso does not fulfil their expectations, but the event will lead the sisters to reconnect with each other.

A cinematographic essay on the basis of reflexive documentaries (references: Werner Herzog, Germany, and Joshua Oppenheimer, USA) that approaches the conflict of the victims of the mine exploitation in North Kivu (Democratic Republic of the Congo) with the primary goal to restore the physical presence – socially and individually.

The Ayoreo are indigenous inhabitants of the Paraguayan Chaco. Most of them were forced to sedentarism and evangelism thus deprived of their spirit, to live in extreme poverty. But many Ayoreo have never come in touch with civilization to this day. Swiss anthropologist Benno Glauser has been exploring their culture for 30 years on the spot, collecting evidence of their existence. However, with his fight for their rights he has created enemies. Entrepreneurs and missionaries, and even the Paraguayan government, want to keep on enforcing their economic interests in the area. Since Benno received death threats, and became a victim of persecution,he had to avoid the Chaco. But now he embarks on a journey with some old Ayoreo who wish to return to their ancestral territory one last time before dying.
Will it be possible for Glauser to find irrefutable evidence of the existence of the isolated Ayoreo?