If every film tells stories, then each cinema becomes strong or weak depending on how their accounts impose whatever they have to tell us. In this sense, a range of situations and solutions are part of the selection of six productions signed by Brazilians in this Indie.

Two fiction films and four documentaries show narrative forms that are not limited, enclosed in bubbles in their starting point.

In all of these films there is the omnipresent fascination for stories.

It is what stands out in the manner by which Carla Gallo links together the experiences of women that have undergone abortion, in the film O Aborto dos Outros. Each account helps to add new dimensions to the meaning of the word “abortion,” which is still subject to prejudice and religious limitations.

Meetings are also the basis of Pachamama, in which Eryk Rocha chooses a method for recording situations in which the risk of valuing momentary events and chance. Its quality is not in politicized discourse, but in making each situation unique and unmistakable.

How does one individualize a story? This is the challenge that Carlos Nader imposed on himself to honor Wally Salomão, in Pan-Cinema Permanente. Instead of restoring life to an official hagiographic mode, Nader chooses to slide his cameras around Wally’s personas, which have always refused to be totally controlled or even revealed. While becoming delirious and masked others, the personas stimulate the documentary to propose constantly mutant forms for its object and for ourselves.

This same type of reinvention may be seen in the film Tomba Homem, by Gibi Cardoso, in which the main character allows the film to come into existence as its memories build a living and sly report.

Two other fiction films operate under this same logic; Rinha, which takes place in a more traditional setting within which the voice literarily describes facts, pointing to an emptiness of the power of images, if not disbelief.

The film Grão, transforms an oral report into a challenge for spectators to use their imagination, while using light and cameras as a tribute to the power of images. (Cássio Starling)