Fernanda Vianna

Os Dias Que Escondem as Noites

Hoje é Dia de Maria

Maria is an orphan girl who suffers from her stepmother's wickedness. She then decides to escape in search of the fringes of the sea and takes a long walk through Brazilian folk tales. On her journey, she meets several fantastic characters.

My Sweet Orange Tree

Zezé is an 8 year old boy who, although a naughty boy, has a good heart. He leads a very modest life, due to the fact that his father has been unemployed for a long time, and has the habit of having long conversations with a sweet orange tree which is in his backyard. Until one day he meets Portuga, a man who begins to help him and soon becomes his best friend.

Above Justice

In this realistic and touching series told in an innovative format, seemingly independent plots intertwine to show how justice can sometimes be a personal matter.

Fogaréu

On the border between the real and the fantastic, between the colonial past and the overwhelming modernity of agribusiness, the city of Goiás is the scene of the meeting between the young Fernanda and her secret roots. She returns to the home of her wealthy uncle, after the death of her adoptive mother, in order to implode the certainties and to reveal the painful truth about its origin.

The Moving Creatures

Three families, in three different situations, have to deal with a sudden change in their lives, caused by a loss or a re encounter. Three mothers sing their love for their children while facing difficult times. A film about affection on the borders of painful happenings.

Partida de Vôlei à Sombra do Vulcão

Mesmerized by the image of an active volcano on the other side of the world, a woman sets out to meet her fury. On the way, without being able to return, she finds herself in an extraordinary pregnancy, starting the account of the journey that gives shape to this play-film, a journey between theater and cinema inspired by the narratives of fantastic realism.

Cidade; Campo

Two tales of migration. In the first, after a tailings dam disaster floods her hometown, rural worker Joana (55) moves to São Paulo to find her sister Tania, who lives with her grandson Jaime. Joana enters the universe of insecurity, replying to an application for house cleaning. She bonds with her colleagues, and their struggle for better conditions gives Joana’s life a new meaning. Her relationship with young Jaime brings back old memories. In the second part, after the death of her estranged father, Flavia (32) moves to her farm with her wife Mara. The couple suffer a shock of reality when facing the harshness of rural life. The contact with the abandoned house reveals to Flavia unknown aspects of her father. She begins to suspect that there is something supernatural in the woods.

Moscow

Continuing the exploration of the thin line between truth and performance, Eduardo Coutinho turns his attention to the drama generated during rehearsals for the Galpão Theater Company’s performance of Chekov’s The Three Sisters. As he shoots scenes from the play, Coutinho attempts to capture the very moment in which reality becomes fiction and vice versa—whether through the actors’ bodies and words or in backstage scenes of a performance that will exist only on film.

O Lodo

Manfredo seeks out a psychiatrist. The doctor insists on knowing his past, but there is something that Manfredo doesn't want to reveal and he abandons treatment. Dr. Pink starts to chase Manfredo and his life turns into hell.