In the village of Koenju, in Rio Grande do Sul, young Mario and his "gang" make fun of the challenges of today's Mbya-Guarani reality.

As Ariel Ortega thinks about the history of contact of the Mbya-Guarani, he tries to understand how his people got expelled from their land.

An immersion in spirituality and everyday life of the Mbya-Guarani from the Koenju village in Southern Brazil.

As Ariel Ortega thinks about the history of contact of the Mbya-Guarani, he tries to understand how his people got expelled from their land.

Mythical-religious interpretation of the Mbya-Guarani on 17th century Jesuit reductions in Brazil, Paraguay and Argentina.

An intimate meeting between two women filming each other. An exploration of the relationship of two artists: an indigenous filmmaker and a non-indigenous visual artist and anthropologist.

An intimate meeting between two women filming each other. An exploration of the relationship of two artists: an indigenous filmmaker and a non-indigenous visual artist and anthropologist.

An intimate meeting between two women filming each other. An exploration of the relationship of two artists: an indigenous filmmaker and a non-indigenous visual artist and anthropologist.

The Land Without Evil is the mythology that guides the Guaraní communities. It narrates the search for a lost paradise. From the moment that Europeans crossed the Atlantic, it became the anima of a resistance discourse. How many different weapons does it take for a fight? The solo exhibition of Patrícia Ferreira Pará Yxapy, one of the most engaged women among Brazil’s Indigenous filmmakers combines new works and the archive behind her audiovisual journey over the past 15 years, always in close collaboration with the Mbyá-Guarani Cinema Collective. It presents Indigenous cinematic practice as a tool of resistance and healing showcasing intimate and painful thoughts on the feminine, on spirituality, colonization, and the relationship to land.