Brazilian Films Screening at the Cannes Festival

(Cesar Cabral)
Showcased at the first Cannes’ Animation Day, this NSFW claymation feature spins off a previous short film and the work of famed Brazilian cartoonist Angeli the Killer.

(Santiago Loza)
Three outsiders are tasked
with returning an alien to its planet. A low-fi road movie about friendship.

(Fabrício Bittar)
Backed by Warner Bros.
Brasil and Netflix, this $3 million horror-comedy follows a group of paranormal investigators on YouTube looking to explain the ghost terrorizing local school bathrooms.
Sales: Raven Banner

(Aude Chevalier-Beaumel, Marcelo Barbosa)
In this polemical docu feature, Brazilian icon Indianara leads the fight against a repressive government to protect her country’s transgender population.

(Karim Aïnouz)
A banner Brazilian title from RT Features focuses on two sisters’ lives — denied access to a quality labor market, their voices challenged — from the 1950s to early 1970s. The film is framed by Aïnouz as classic melodrama in the vein of Douglas Sirk’s “Imitation of Life.”

(Fernando Grostein Andrade)
Abe, the 12-year-old son of an Israeli mother and Palestinian father, uses cooking to unite his family over a Thanksgiving meal.
Sales: Blue Fox Ent.

(Kleber Mendonça Filho, Juliano Dornelles)
Billed as a Brazilian Western and sci-fi adventure, Mendonça Filho’s film is a follow-up to lauded competition player “Aquarius.” “Highly political,” Thierry Fremaux said at his Cannes lineup announcement. A village in Brazil’s dirt-poor northeast outback discovers, after the death of its 94-year-old matriarch, that it no longer figures on any map.
Sales: SBS Films

(Tiago Arakilian)
When a retired judge opens a strip club, he’s court-ordered to spend time with his son, who must judge the man’s mental state.
Sales: Maf Media.

(Wagner Moura)
Saintly freedom fighter, or anti-dictatorship terrorist bogeyman? Rarely has a film divided Brazilians more, mostly before they’ve even seen it, than “Marighella,” the debut of “Narcos” actor-turned-director Moura, a propulsive action-thriller portrait of Carlos Marighella. One of the big Brazilian movies of the year.
Sales: Elle Driver

(Danielle Lessovitz)
Visually grounded in a gritty realism akin to Darren Aronofsky’s “The Wrestler,” says director Lessovitz, this film is a star-crossed love affair between a Midwest teen and beautiful trans girl against the background of the Kiki Ball queer minority youth pageant.

(Benjamín Naishtat)
The film which established Argentina’s Naishtat as a major international auteur to track, a “superb” third feature, said Variety, laying bare the “complacency and corruption of pre-coup Argentina in chilling, absurd style.” Sales: Luxbox

(Alice Furtado)
A portrait of an empowering and destructive high-school first love, with genre undertones. A highly anticipated first feature, playing in Directors’ Fortnight.

(Marco Bellocchio)
A text-book co-production from Italy’s IBC and Kavak, Brazil’s Gullane, Germany’s Match Factory Prods. and France’s Ad Vitam, Bellocchio’s film is a portrait of a true game changer, Tommaso Buscetta, the first Cosa Nostra boss to break its vow of silence. In Cannes Competition.
Sales: The Match Factory.

Anna Marie de la Fuente and Jamie Lang contributed to this report.

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