Today it is impossible to imagine the world and our understanding of sexuality and gender without psychoanalysis. But what if Sigmund Freud had died before its invention? Inspired by time-travel stories, The Early Death of Sigmund Freud imagines the possibility of sending nanobots back in time to implant a brain disease in Freud before he invented psychoanalysis. While the nanobots go about their business inside Freud’s skull, we watch a list of key moments in Freud’s life and when best to kill him.

Meat is Not Murder is a short film narrating the dilemma faced by an animal rights advocate and hardcore vegan when confronted with the possibility of eating cellular-grown lab-made meat. Both funny and gruesome, the film is imbued with an intimate and sensorial relation to images and music, creating an emotional narrative about the making of bodies, whether human or not, in science and preconceptions surrounding what is deemed natural and unnatural. Together with the short film The Ovary, the film falls under the rubric of what I call Medieval Bodies, a set of films echoing contemporary issues surrounding queer reproduction and gestation, fears of artificiality in biotech, and the fluidity between human and nonhuman bodies.

The Ovary is a short film narrating the attempts of a gay couple to reproduce biologically through an ovarian implant in a cis man. Imbued with an intimate and sensorial relation to images and accompanied by a cover of Lana Del Rey's pop song "Let me love you like a woman," The Ovary is a raw and haunting approach to the online fan fiction genre Mpreg (a term short for male pregnancy) and its tense, but also visionary, relation with surrogacy, privilege, and homonormativity. Together with the short film Meat is Not Murder, the film falls under the rubric of what I call Medieval Bodies, a set of films echoing contemporary issues surrounding queer reproduction and gestation, fears of artificiality in biotech, and the fluidity between human and nonhuman bodies.

Engaging in strategies of worldbuilding, YWY, Visions combines sci-fi elements with Amerindian cosmologies to contest a linear claim on the future, offering instead a clash of many worlds and visions in between Indigenous and white perspectives. In doing so, it explores how artistic expressions might both acknowledge historical legacies and present visions of futures beyond dystopia.

Engaging in strategies of worldbuilding, YWY, Visions combines sci-fi elements with Amerindian cosmologies to contest a linear claim on the future, offering instead a clash of many worlds and visions in between Indigenous and white perspectives. In doing so, it explores how artistic expressions might both acknowledge historical legacies and present visions of futures beyond dystopia.

The film presents a speculative exercise about the relation between ecological theories and sociologic, economic and management models. Such reflections are intercalated with tales about the ritual of anthropophagy in Brazil in the early 16th century, whose imaginary defines the film's visuals, be it microfilms of books and etchings, or museological and graphic material on Amerindian socio-cosmologies.

Mirene and André are a heterosexual couple struggling with infertility issues. Carl and Vicente are a homosexual couple undergoing an experimental procedure in order to have a biological child.

Mirene and André are a heterosexual couple struggling with infertility issues. Carl and Vicente are a homosexual couple undergoing an experimental procedure in order to have a biological child.

Aimed at generating a revolution in perceptual habits, Semente Exterminadora approaches Indigenous knowledge as a radical means of reconceiving the relationship between humans and their environment in the twenty-first century.

The film offers a glimpse into the life of five vampires as they travel through space, carrying life to a faraway Earth-like planet. After all, in space it is always night and, having eternity at their disposal, vampires are the ideal candidates to roam the stars. In their solitude, away from societal constraints and expectations, this family of vampires recalls and reimagines their past lives, guiding the visitor through an open-ended narrative about the role of fiction in our lives, and in particular in lives marked by gender dysphoria or transgender experiences. (João Mourão & Luís Silva)