Santamaria and Urtigo are two bandits on the run, one is white, the other black. Santamaria is a mystical visionary and believes in the imminent coming of a purifying angel. Urtiga, his inseparable companion, is a simple-minded and ingenious man who follows Santamaria around and participates in the crimes he commits. The two bandits take over a house after kidnapping its owner and his girlfriend.

The fictional encounter in Rio de Janeiro, Brazil (in the 30s) between popular songwriter Lamartine Babo and inconoclast poet and playwright Oswald de Andrade.

A cinematographic essay, without dialogues, about the months Nietszche spent in Turin, Italy, with narration quoted by his original writings.

In a movie studio, the actors are getting made up and the crew is waiting to begin shooting the film. Grande Otelo, the bungling "king of the deck", and Marta Anderson, the blond and provocative star of the show, recite in the historical scenario of the chanchadas, the abandoned studios of Cinédia. "The photography is splendid, it is a sort of parallel song, of critique, of parody, of understanding of a certain light typical of Brazilian cinema of the times, already re-created, already stylized. And with the older actors, Otelo, Lewgoy and the others, something very important happened in the artistic perception, seeing again, doing again, it was already a concrete metalanguage" (J. Bressane).

Cropped hair, a rosemary branch behind the ear, yellow shirt of shiny satin, he's behind the wheel of his car when passing by a woman who walks by the roadside. Strongly painted lips, printed dress with round skirt and red shoes matching the color of the lipstick, she catches his attention. He gives her a ride, the two of them stare in silence for a few moments. They introduce themselves to one another and between the two establishes an absurd dialogue and full of metaphors. And they are driving around in corners of Rio de Janeiro, to the sound of Noel Rosa and Lamartine Babo. Eva and Antena, she a seer, he, an assassin on the run, initiate an unusual case of love, a marginal love, where boredom often gives way to tragedy, creating the agony of a holiday spent in an abyss.

The great battles are the backdrop for the unfolding of the Egyptian Queen's personal life. The strategy of Cleopatra is to seduce the Roman General Julius Caesar and Mark Antony to protect their civilization.

Two women, long-time friends, embark on a love story. They are writers who do not write to publish but for themselves. Their mutual conversation, their desires, the risks and phantoms of existence, the privilege of the wounded and of condemnation, traverse their speech, are a confession.

A delicate and tenacious writer, widowed three years ago, engages in frequent conversations with a parrot. However, she's always observed by a large portion of raw meat

A curious couple, whose existence takes place where art arises along a singular metaphysical desire. They search for it through repeated and varied representations, in a setting of light where hope and desperation blend together.

Starting with the screening of O Mandarim in 1996, Júlio Bressane became a regular at IFFR — one of its patron saints, one could even say, as many of his films were selected for later editions. In 2000, the festival honoured the cinema marginal paragon with one of the first comprehensive retrospectives on his work outside his native Brazil. It is, thus, more than fitting that Bressane’s extensive reflection on his six decades of filmmaking, The Long Voyage of the Yellow Bus, done in tandem with Rodrigo Lima, is one of IFFR 2023’s centrepieces!
For this behemoth, Bressane took his opera omnia and edited it in an order that first adheres to historical chronology but soon starts to move backwards and forward. The various pasts – the 60s, the 80s, the 2000s – comment on each other in a way that sheds light on Bressane’s themes and obsessions, which become increasingly apparent and finally, a whole idea of cinema reveals itself to the curious and patient viewer. Will Bressane, from now on, rework The Long Voyage of the Yellow Bus when he makes another film? Is this his latest beginning? Why not, for the eternally young master maverick seems to embark on a maiden voyage with each and every new film!
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A serial killer kills blonde women's.

一个多愁善感的老女人和一个十几岁的男朋友。他们彼此喜欢，所以她和他谈论她自己，她的灵性，神秘主义和存在本身。他们变得形影不离，所以他嫉妒的母亲面对着她。

有三个朋友 Hilda, Matilda 和 Gaspar，周末，三个朋友Hilda, Matilda 和 Gaspar在意间市区破旧的公寓中相会，喝酒、聊天，一起度过了一段愉快的时光 ...

“If you had to choose between me and your mother, who would it be?” Capitu asks provocatively of her problematic lover. Elsewhere, they dance to inaudible music, with their friends, each couple keeping to a rhythm of their own. At times, this depiction of the memories we see one Dom Casmurro commit to paper with a flamboyant pen seems to be an interplay of conflicting emotions – particularly when jealousy raises its head.
Júlio Bressane, a major exponent of Brazilian avant-garde cinema and IFFR Film Maker in Focus in 2000, derived his material from the famous novel Dom Casmurro (1899) by Machado de Assis, who, like Casmurro, was tormented by epilepsy. Bressane composed this film in the form of a frank exploration of visual and theatrical possibilities; during a musical interlude, the violinist appears in the shot. Capitu and the Chapter is interspersed with fragments of Bressane’s previous works and leaves itself open to many interpretations.

A man living with his parents in a low middle-class apartment in Rio de Janeiro coldly stabs them with a razor and then goes to the movies. Marcia, a rich and dissatisfied young woman, takes advantage of a trip from her husband to go to her home in Petrópolis, where she receives a visit from an old friend, Regina.

Made for the Venice Film Festival's 70th anniversary, seventy filmmakers made a short film between 60 and 90 seconds long on their interpretation of the future of cinema.