Introducing Tocaia no Asfalto

Fear and Desire. Before, the Summer.

The Redemption of Jeca: Mazzaropi, Popular Artist

Go Inside, Woman: Geny Prado in the Cinema of Mazzaropi

Helena Solberg: Between the Marias, The Aleph, and the Counterculture

Alberto Cavalcanti in Recife: O canto do mar (1953)

Film Restoration in Brazil and the Advent of Digital Technology: A Brief Overview

Quelé do Pajeú: Violence as a Formative Principle

EARTH AND TRANCE: Hierophantic and Political Performance in Vereda da Salvação

Can a Movie Star Dream?

Torture and Extermination: State Violence in Genre Films from the Years of the Military Dictatorship in Brazil

The World Seen and Dreamt

The Castello Station

Some Notes on the History of Espírito Santo Cinema: From the Early Days to the 1990s

The First Films of Adélia Sampaio: A Cinema of Positioning and Contrast

Jece Valadão: Wanted Dead or Alive

About OS RAPTORES (Aurélio Teixeira, 1969)

Twilight in Vidigal

Menino da calça branca and Esse mundo é meu: Striking Articulations of Sound and Image in Sérgio Ricardo’s First Films

Menino da calça branca: Social Lyricism and Bossa Nova

Home Movies, Amateur Films and Film Archives: New Paths in Film History and Film Preservation

Filipe Furtado on Vassourinha: The Voice and the Void

Abolition: the Atlantic Cinema of Zózimo Bulbul

A List of Brazilian Films Around “A Voz e O Vazio: A Vez de Vassourinha” (“Vassourinha: The Voice and The Void”)

Ten Brazilian Films that Remain in the Shadows due to Poor Accessibility