To be there is not to be here, is to be nowhere. Time, physical locations and distance. The foreigner is absent from himself. The author is the foreigner of foreigners. "I'm looking for a man I don't know, who's never been more myself since I started looking for him." Edmond Jabes

Four friends get together to make a movie. And I watch them. An essay-film about the filming process of Os monstros, by Guto Parente, Luiz and Ricardo Pretti and Pedro Diógenes (Alumbramento Filmes). A letter-film, a diary-film, an essay-film, an archive-film, a garage-film.

(Anti)travel diary to the island of Florianópolis. Time, physical places and distance from oneself. A foreign film.

At home, he begins a trilogy of long-term travel diaries, successful by Desertum and Exodus. I return to my parents' house, where I was born, after ten years away. What is there of me in the rooms of this house, in every corner? What are the traces of me? This search for an origin is done without psychology, but through a materialist cinema, with long-term still camera shots. The memories of the house are implicitly evoked through a radical look at its physical architecture, filled with an almost total emptying of the human figure. In a way, Em casa is an extension of the formalist researches such as Entremeio, but here the rigor of the structure that decomposes the house into presentation rooms opens up as the film continues, advancing to the outskirts of the house, and later culminating in a synthesis plan, the final plan.

The Man Who Became Cabinet tells the story of an employee who, so obsessed with the routine and mechanical tasks of his work environment, eventually becomes one of the cabinets in the office.

The Man Who Became Cabinet tells the story of an employee who, so obsessed with the routine and mechanical tasks of his work environment, eventually becomes one of the cabinets in the office.