A meeting with music, composer, poet and sociologist Negro Léo. He gives his thoughts on the development of music, Brazilian and international politics, the rise of neo-pentecostal evangelical churches and obsession over social media, in parallel with his own life story.

Guitarist Lanny Gordin was one of the fundamental characters in the transformation of Brazilian music from the 1960s onwards. He electrified Gal Costa, Gilberto Gil, Caetano Veloso and Jards Macalé, among others. Lanny reveals his libertarian process of composition and current thinking, embarking on an unusual odyssey through China, his birthplace, and Brazil, the country where he lives.

Earth is just a place. But it's not even a normal place, as most of the cosmos is empty. Normal is the vast and immense void, cold and universal, the eternal night of space in comparison with which the stars, its planets, already appear as something painfully rare and precious. If we were dropped at random into the cosmos, the probability that we would appear on the planet or even in its vicinity would be less than a part of a billion, a billion, a billion.

A political mockumentary that never talks about politics. The film follows Rose, a "professional dog walker" who has recently occupied a vacant house which now she calls home: the realization of a dream. While claiming to take care of the property until the return of the landlady, the new "tenant" creates intimacy with the house develops a fascination for the absent woman.

The gun pointed at the head is a delirium that expands into disorderly controlled chaos. “He Who Saw the Abyss” by Gregorio Gananian and Negro Leo, is like a car that enters the curve at 300km/h, but slowly. In an experimental whirlwind, moving between a noisy sound and an almost idyllic musicality, the film is structured out of a pile of images that seem as intimate as they are delirious, accelerating into a trance that is fragmented by a montage, signed by João Dumans and Gregorio Gananian, who strive to articulate an intense experience on the big screen.

Down on his luck and recently divorced, Paulo has begun driving a cab around Rio, hoping he’ll make enough to send his ex money to support their ten-year-old son. He mostly works nights, so in addition to his encounters with a colourful variety of customers, colleagues, cops and others, he must cope with loneliness, fatigue and new faces in his life.

Negro Leo, recording session.

An experimental trip about Brazil after H.O.