May our smiles not be forced for your enjoyment and may our pains no longer be hidden. May my mother Yemanja help me. A short film about the pain we carry alone and that we only confess to the sea, which is life, but for us, black people from the diaspora, it's also a memory of a past of sadness and death.

May our smiles not be forced for your enjoyment and may our pains no longer be hidden. May my mother Yemanja help me. A short film about the pain we carry alone and that we only confess to the sea, which is life, but for us, black people from the diaspora, it's also a memory of a past of sadness and death.

May our smiles not be forced for your enjoyment and may our pains no longer be hidden. May my mother Yemanja help me. A short film about the pain we carry alone and that we only confess to the sea, which is life, but for us, black people from the diaspora, it's also a memory of a past of sadness and death.

May our smiles not be forced for your enjoyment and may our pains no longer be hidden. May my mother Yemanja help me. A short film about the pain we carry alone and that we only confess to the sea, which is life, but for us, black people from the diaspora, it's also a memory of a past of sadness and death.

May our smiles not be forced for your enjoyment and may our pains no longer be hidden. May my mother Yemanja help me. A short film about the pain we carry alone and that we only confess to the sea, which is life, but for us, black people from the diaspora, it's also a memory of a past of sadness and death.

In Salvador (Brazil), every year there is a great and traditional party for Senhor do Bonfim, where the faithful, tourists and revelers, wander to the famous church to tie ribbons and make requests. Two brothers, Pedro and Gabriel, listen to their grandmother's stories and prayers to Senhor do Bonfim from an early age and decide to flee on the day of the wash, to venture out among the crowd, to try to ask for a football, since they grew up without one. father figure. There they confront their grandmother's narratives, with the current wash, bringing questions about religiosity, syncretism, popular manifestation, and the importance of the family.

In Salvador (Brazil), every year there is a great and traditional party for Senhor do Bonfim, where the faithful, tourists and revelers, wander to the famous church to tie ribbons and make requests. Two brothers, Pedro and Gabriel, listen to their grandmother's stories and prayers to Senhor do Bonfim from an early age and decide to flee on the day of the wash, to venture out among the crowd, to try to ask for a football, since they grew up without one. father figure. There they confront their grandmother's narratives, with the current wash, bringing questions about religiosity, syncretism, popular manifestation, and the importance of the family.

After hearing about a Brazilian folklore party at the neighborhood school, Fernando, an 8-year-old child, decides to go dressed as Curupira, with a skirt and everything, and suggests it to his grandfather, Mr. Lino, 70 years old. The dynamics between grandfather and grandson begin to be affected as Lino perceives Fernando to be a different child. Through subtleties in the dialogues and the silence, social conventions and the responsibility of being the guardian-protector of something precious, the film evokes conceptions of the masculine within a queer childhood.

In a futuristic Salvador, Kinho is disappointed when his father can't take him to the beach. But the next day, he surprises him. Although Kinho notices something different in his father's behavior, he cherishes the precious time spent with him.

Barbara is a girl with a special talent for imitations. Coming from a poor family in the countryside, she is the one who brings relief to the everyday problems they face. Inspired by a theater company that settles in the city, she begins to dream of becoming an actress, while teaching her father that there is no adversity that laughter cannot cure.