• INTERNATIONAL #1 •

A film record that is like a living form demarcating the processes of the style itself. May June July is a film for those who see excerpts from Black American life and politics with the care of those who touch petals, with the tact of the eye moved by the desire that, between Black Lives Matter and pandemic life, it is possible to blossom again.

(Bruno Galindo)

Amidst the sound of the lute (Arabic string instrument) and several exchanges of emails, Moonscape composes surrealist visuals to face the impossibility of traffic produced by “borders, soldiers, and walls”. In her second film, Mona Benyamin makes a connection between her story and that of Dennis M. Hope (founder of Lunar Embassy in 1980), investigating memories, desires, and tensions that permeate her as a young Palestinian who lives under Israeli occupation.

(Lorenna Rocha)

In the minimal architecture of a red tent, a man takes pride in exploring the world of the other with his bright suit and his motorcycle. The more he appropriates what he conquers, the greater his narcissistic delusion becomes. In this experiment critical of the invasion of the Americas, the epic heroism of colonizing representations is mocked by the spontaneity of performances amid the Mexican jungle. If all beauty is a gesture of conquest, relativizing it is a political act.

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(Felipe Carnevalli)

A transsexual secret agent with a female voice is assigned to spy on a student activist considered an enemy of the state. Disguised as a cisgender man, she needs to be emotionally involved to extract the information she seeks. A queer love and espionage film with political commentary that, referenced in the Thai tradition of dubbed films from the Cold War era, plays with the absurdities of the past to weave considerations about an anachronistic present.

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(Vanessa Santos)