The story unfolds in a mysterious land, situated in one of the last frontiers between civilization and nature, the Paraguayan Chaco. It is the ancestral territory of various indigenous communities, including the Ayoreos living in voluntary isolation, avoiding all contact with the settlers. The Chaco is hostile, inhospitable, far from everything but the desire for conquest and wealth. There is fever triggered by the possession of the land.
This project is connected to the last movie we made, The Impenetrable, where we tell the story of a legacy: 5,000 hectares of virgin forest in the heart of the Chaco. The Impenetrable is a western documentary. During its shooting the thread that guided us was the need to return those land to the Earth, to its indigenous people, the Guarani Ñandevas. A goal that was fading while filming progressed, to prove an impossible dream. The reality forced the protagonist, Daniele Incalcaterra, to change course. To save these 5,000 hectares of deforestation, he had to create a nature reserve in perpetuity that called Arcadia.
The new movie project takes its name, Arcadia, intending to tell through the vicissitudes of the protagonist to ensure the natural reserve, what interests threaten its existence. They are the same interests that are deciding, far from prying eyes and ears, if the virgin forest of the Chaco, second only to the Amazon, may exist in the future. Arcadia is a « thriller documentary film ». Also this time a dream: the protagonist, Daniele Incalcaterra, will be killed in the Chaco during filming. When he gets there, his reputation precedes him. Incalcaterra is no longer a lost and uninformed foreigner striving to find the location of his land in the Impenetrable. Arcadia has become an uncomfortable reality that many fear will become a symbol of resistance. So Incalcaterra has been declared persona non grata in the Chaco. For more than a year he has been intruding and sticking his nose where occult powers would want to conduct their business in silence, with the utmost discretion, in an almost uninhabited territory where the State is absent.  

At some moment in our lives we all stop chasing our dreams. At some point reality becomes too strong for us to avoid it. It happens to all of us, and in this particular case, it happens very early to many abandoned teens in the city of Lima, who grow up orphan or in harsh family environments. They are left to fend for themselves and form gangs just for the mere sense of belonging somewhere. Sebastian, an eighteen-year-old afro-peruvian boy, is the quiet one of the gang, he receives daily bullying because of his inability to connect with the group of kids he hangs out with. He feels this isn't where he is meant to be. Until one day he meets Jaen's sister: Emilia. This is a problem because Jaen is the gang leader which makes Emilia unreachable for any boy who wants her. Nonetheless, Sebastian can't help his feelings and they will cautiously fall in love and fight to stay together in a world that plagues them and pushes their dreams away.
 

In five years, its estimated that the war against organized crime in Mexico has left a death toll of 100,000 people executed and more than 300,000 indirect victims (children, widows, parents, friends of the deceased, etc.).
This documentary will record the stories of some of the victims of these nationwide stories, of those who committed the acts of violence, of those that suffer them, and of those who work in the resolution of the cases. Throughout a collection of testimonies, the viewer will perceive the chronicle of such terrible times.
As in any war, in Mexico, violent death has become a daily occurrence, the deceased have been stripped of their dignity, becoming just cold statistics of a war that hasn't been neither won nor lost. Mexicans have now grown accustomed to have breakfast with news splashed with blood; media have focused on incubating cold statistics, each victim is presented only as a side note, without going through the filter of compassion and empathy necessary to digest and purge the horror. Due to the foregoing, this documentary will not focus on the violent act itself, but on the fears and nightmares of people close to such terrible events.
The voices that shape the story will be those of  civilian witnesses, police  force,  grave diggers,  boys that go through adolescence with resentment,  families that  suffered forced exile; the voices of  immigrants who take a train just to fall into the hands of an executioner,  widows and mothers looking  for their children and partners.
The result will be a reflection of how fear has been inserted into our subconscience.
 

LISBOA is a portrait of two people in search of a family, in search of a home. Chance will make them cross paths.
Helena (55) lives by herself in a huge house owned by her best friend, who doesn’t make her pay rent. Contact with the outer world is ever more difficult for her, the house becomes her lair. She is a teacher, but that doesn’t satisfy her anymore. Her days are spent in between the few classes she gives at the university, staying at home and drink as much liquor as she can.
Her friend the owner has decided to rent the bungalow in the garden to improve their economic situation. Helena is dealing with a very strong crisis, which makes her umcomfortable in her own skin. She tries to stop the moving of the new tenant without success. Santiago, a young Spaniard man who is coming to study in Mexico arrives to upset the life of Helena. Santiago has a strong conflict of his own, a void in feeling part of a family, resulting from the distance he has felt with his parents since he can remember. Despite that he conveys a warm and friendly personality. At first their convivence is tense and hostile. Helena imposes a barrier between them causing the discomfort of Santiago.
Helena gives up her teaching job and because of the time spent stuck in the house she starts to see Santiago in a new light, feeling empathy with him.
Both of them develop a strong bond based on their loneliness and alcohol. A complicated relationship starts between them, where at times they act like mother and son, then as accomplices and some other times with a strong sexual tension.
It is difficult to categorize the relationship between them. Sharing the same space for so long evolves into a codependency that affects Helena the most. At the height of their relationship Santiago discovers that Helena has kept a secret: the death of her son years ago during a trip to Portugal.
Santiago walks away silently thinking he can not replace anyone's son. Helena begins to have a new light in her eyes.
 

A contemplative film about a filmmaker's lost love. Devastated after being abandoned by a powerful love, he returns to her now empty apartment where they met and lived in the city of Cochabamba, Bolivia. With no intention to turn his footage into a film, he begins to document himself through the empty spaces, and the remains of a profound love contained in these walls. The camera becomes a vehicle of self-liberation as he attempts to take this loss and rid it from suffering. Surrounded by a Bolivian city submerged in an unceasing revolution, tainted by political unrest, the life outside the apartment begins to make its way inside. After searching in every room and corner for some comfort, the camera begins to look out the windows. The busy schoolyard of a high-school, the changing seasons, the night feuds from the next door neighbors, a girl playing in a junkyard of metal scrap, the demolition of an old house and the subtle changes over the course of 1 year help shape a filmmaker's own inner battles and transformations. A film about a man's inner journey, shot entirely from his now 3rd floor apartment, the relationship with his windows as a vehicle into his inner quarrels in pursuit of answers.

It is a comic and surreal documentary with uncertain limits between fiction and reality. Juan Kantor, its filmmaker, is given the chance to relocate a few kilometres away from his hometown, and it is at this moment, when having second thoughts, that he wonders why his friends left for Europe. Juan, through recollections and true recreations, will try to figure out the causes of migration, and in particular, the reason why his friends, went to Europe; a continent with traditions, climates and jobs so different from their home country.His research focuses on three main mass exoduses that have shaped Argentinian history.On the one side, he studies the migration flow of the 50’s, after the visit of his uncle, now an American citizen, who explains to him the reason of his own migration during the first period of Perón.
The second migration flow consists of the forced exile of the 70’s, which took the protagonist’s Peronist parents abroad to safeguard their lives and to become parents of Juan Diego Kantor.
In the third part of the film, Juan contacts his friends who emigrated to Europe in 2001, in order to put an end to his search and discover the meaning of these journeys, which left families and traditions behind, often to risk their freedom as illegal immigrants.
"Why my friends went to Europe”, presents us with a filmmaker experiencing different migration flows. The son of migrant parents, who at an early age had himself to migrate from Italy to Argentina to undergo the exodus of his loved ones twenty years later. That way, the character of Juan Kantor, presents to us a personal look at his life story, which is different generations intertwined with the stories of three.

Going back to the locations of Birdwatchers to track down the protagonists: the Kaiowas. We don’t know  yet where are some of them today. It's been years since Birdwatchers was screened at cinemas in Brazil and around the world. The international press  thenwas worried about the genocide of indigenous peoples. But the echo of that sound is already extinguished, muffled by the media whirlwind.
The film wants to answer some questions: What are the consequences of that movie today in the Kaiowas communities? Has Birdwatchers become an instrument of the indigenous resistance strategy? And if so, how?
The return to the filming locations will launch a two-level parallel narrative: making films after the film, connecting different times (2007-2013). A before and after to discuss Kaiowá today. But also to discuss the film and its inevitable political implications.
The actors, real Kaiowas, will talk about their own present, the return to daily life after the shooting, individual and collective hopes and difficulties they faced after the crew left.
Short stories, episodes, which collectively make up a story. Kaiowas actors and also key characters of the preliminary investigation: the anthropologist, the white inhabitants of Dourados (filming location) and the technical team.
Who owns the film then? Who is suitable and who took control of what and how? Who owns this story? What role can play the film at the distance of years? Is it a "racconto" still connected, that “shows”?
Is it an experience still alive among the Kaiowas? These are some of the questions that will guide the documentary film "The Kaiowas after the film" , with the aim to investigate how a film approaches the reality that intends to shoot, and examine the social and political context in which the art practice occurred.

Set in the final months of the nineteenth century and the very beginning of the twentieth, The Dead is the story of the decline of a family in São Paulo, narrated from the point of view of its three women: Isabel, the mother, and her daughters Maria and Ana. After the death of their maid Josefina – a former black slave back from the times when the family lived in the coffee farm – the notion of “home” seems to stop making sense. Isabel gets sick and does not get better. The doctor gives her a few months to live. Maria, a nun and teacher, has little time to devote to the house. She puts her sister Ana in charge. But Ana is a strange, quiet and lonely quiet girl who never was able to get married. As time goes by, Ana develops an obsessive relationship with the memories of the family farm and the slaves who lived there. Their ghosts come back to haunt her. Also, the three women miss Jorge, the father, who left them in the city to work for the Italians who purchased the old farm. The women know, deep down inside, that he will never return. The film is set around three big Brazilian holidays: Independence Day, Day of the Dead and Carnival. With few resources and unable to share the euphoria that comes with the modernization of the city of São Paulo, Isabel, Ana and Maria inexorably approach illness and madness.