The Guns

A group of armed soldiers is sent to the Northeast of Brazil in an attempt to stop a famine-struck population from invading and stealing a food deposit in the dry backlands. While the alienation and insanity of people driven to hallucination by their latent hunger is conducted by the predictions of a religious figure, a truck driver observes the situation and remains torn between his friendship with the soldiers and his revolt against the lack of government action in fighting the misery that lingers over the region.

Mueda, Memory and Massacre

Mueda was a massacre. The name is that of the village in Northern Mozambique where in 1960 it took place. The Portuguese colonial regime did the killing. In independent Mozambique, those inhabitants of Mueda who survived regularly re-enact the massacre in situ. They themselves play the roles of victims, assassins, and spectators. Ruy Guerra, now a Brazilian but born in Lourenço Marques (now Maputo, the capital of Mozambique), filmed this extraordinary creation of liberated popular culture, intercutting it with first-hand interviews on the ma...

Os Comprometidos - Actas de um processo de descolonização

The film deals with the judgment of the so-called "compromised", who integrated the colonial apparatus. At Josina Machel school, in an amphitheater with a full audience and balcony, there is a stage where Samora Machel and the members of the Frelimo political committee are located. He records Samora, an impeccable political actor, sometimes histrionic, in the role that he is attributed as the animator of the scene in the trial.

Fable of the Beautiful Pigeon-Fancier

Orestes, a rich factory owner, falls for the beautiful Fulvia. They communicate using pigeons, to avoid being discovered by her husband.

Sweet Hunters

An ornithologist goes on a field trip to a deserted island near the mainland with his wife and small son, and is joined by the wife's sister, who is getting over an abortion; later, an escaped convict is discovered. A situation which may seem naturalistic enough, but the form never is: incidents are isolated, cross-relations are oblique, emotions are unexplained.