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Conclave, the latest adaptation of Robert Harris’ renowned book, directed by Edward Berger, which premiered at the 2024 Rio Festival as one of the big surprises and quickly became a strong contender for awards, including the Golden Globes. With a strong cast led by Ralph Fiennes and Isabella Rossellini, the film transports us to the secrets and intrigues that permeate the process of choosing a new pope, an event that takes place in the shadows of the Sistine Chapel, amidst burning ballots and white smoke.

“The throne of Santa Fe is vacant”

The plot unfolds after the unexpected death of a beloved pope, when Cardinal Thomas Lawrence (Fiennes) is entrusted with the immense responsibility of leading the conclave, a tradition of isolation and secrecy that dates back eight centuries. In an environment full of internal pressures, Lawrence quickly realizes that he is not only dealing with the selection of a new spiritual leader, but also finds himself immersed in a labyrinth of conspiracies and secrets that could shake the foundations of the Catholic Church.

Edward Berger’s direction captures the palpable tension in the corridors of the Vatican, from the reverent silence of the Sistine Chapel to the strategic whispers of ambitious leaders. Peter Straughan’s script balances thought-provoking dialogue with moments of reflection on the role of the Church in contemporary times.

“40 years without an Italian pope”

One of the strengths of “Conclave” is undoubtedly its art direction and photography. The unique atmosphere of the Vatican is portrayed with rich detail, creating a setting that not only serves as a backdrop, but as a separate character that influences the unfolding of the story. On the other hand, the film also provokes controversy. The reaction of the American bishop Robert Barron, who called for a boycott of the film, illustrates the impact that Conclave can have on the Catholic public. His criticism, which highlights a negative view of the Church’s hierarchy, points to an exposed nerve: the internal dynamics of the institution. However, it is precisely this internal division between progressives and traditionalists, which the film boldly addresses, that makes the narrative a relevant and pertinent theme.

Conclave does not shy away from discussing contemporary issues such as the role of women in the Church and the social changes that are at stake. By placing its characters in situations that challenge the traditional order, the film invites the viewer to reflect on the need for adaptation and transformation in a historic institution. Although the film embraces a critical perspective, it is also an invitation to dialogue on these issues, a journey that scrutinizes the ethos of the contemporary Catholic Church. The performances of Fiennes and Rossellini are powerful, bringing depth and complexity to characters who navigate this sea of ​​ambition and faith.

In short, Conclave is a bold and visually impressive piece of cinema that, in addition to telling an intriguing story, provokes reflections on contemporary issues and the essence of power.

You can watch Conclave in theaters starting January 23rd.

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A Real Pain is a remarkable feature film written, directed, produced and starring Jesse Eisenberg, which was screened at the 2024 Rio Festival. This comedy-drama provides us with a deeply emotional experience by addressing themes such as grief, memory and the complexities of generations of immigrants.

The film follows two cousins ​​who leave the United States for a trip to Poland in an attempt to reconnect with their Jewish roots. Kieran Culkin, whose performance has already won him a Golden Globe recently, steals the show with a performance that is both hilarious and moving. If in Succession his character Roman Roy was a figure full of irony and tension, here Culkin delivers something more multidimensional. His expression is always alive, oscillating quickly between irony, comedy and playful hostility, as he encapsulates the complexity of human pain and humor. Eisenberg allows the film to be frequently dominated by Culkin’s performance.

There are many close-ups of Culkin, slowly revealing the hidden emotional layers, giving us moments where it seems possible to see his future older self and his past/present marked by pain, a timeless figure who could be any age. This directorial touch reveals the depth of pain and authentic experience that permeates the entire film.

But what makes A Real Pain a unique experience is the immersion in the “in-between” — the vast window of self-discovery that inhabits the silence of the curtains opening and closing on a show. Through a journey filled with memories and architectural landscapes of Poland, historical and personal recognition becomes palpable as the cousins ​​explore everything from concentration camps to monuments of celebration, transforming the sightseeing tour into a journey of reverence and contemplation.

Amidst the laughter and tears, the film is, in fact, an ode to the pains of the soul, showing us how to laugh amid the tragic moments of adulthood. Eisenberg challenges us to see loneliness not just as isolation, but as an opportunity for solitude and a new perspective on grief. He uses his lack of social tact and quirky humor to deliver a captivating narrative about two cousins ​​who live in different moments but find common ground in their search for their roots.

A Real Pain invites the viewer to embark on an emotional narrative that is less about how it all ends, but about the journey itself – the path between the beginning and the end, where life really happens. The film, with its individual character and distinctive identity, transforms life’s losses into comedy and contemplation, bringing to light the beauty in pain and rebirth. After all, we are all survivors because living is surviving real pain.

You can find A Real Pain in theaters starting January 30th.

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The fascinating world of opera and the tragic life of its greatest star, Maria Callas, are brought to life in the biographical drama Maria, directed by Pablo Larraín and written by Steven Knight. Known for bringing complex stories of remarkable women to the big screen, as seen in Jackie and Spencer, Larraín once again delivers a compelling narrative alongside screenwriter Steven Knight.

Angelina Jolie’s performance as the lead promises to be a major performance of the year, potentially heading for an Oscar nomination for Best Actress. Maria focuses on the final week of the life of the legendary Greek-American soprano, whose career was marked by impeccable bel canto technique, powerful vocal range and profound psychological interpretations.

Through Larraín’s delicate direction, we follow Callas not only in her craft, but also in the delusions caused by Mandrax abuse, which, combined with a solitary life, contrast sharply with her love for the adoration of the public. “I’m not hungry. I come to restaurants to be adored.” The plot delves into intimate issues, revealing the devastating effects of Callas’s loneliness and her complex love for the magnate Aristotle Onassis. Jolie’s performance is highlighted not only by the extensive training she underwent to capture Callas’s posture, breathing, accent and singing, but also by her ability to convey the singer’s anguish and vulnerability at her weakest moments. Jolie’s performance is subtle and powerful.

The film stands out for its visual construction. The cinematography and editing are combined, alternating between black and white footage and color scenes. The close-ups of Maria and historical videos of her performances bring an authenticity that immerses the viewer in the reality of that time. The opera scenes are meticulously recreated, transporting the audience to the memorable stages of London, Milan and Paris. Also noteworthy are the performances of Haluk Bilginer and Valeria Golino, who, as supporting characters, add additional layers to the drama of Callas’s real life. They complement Maria’s emotional journey.

Maria is more than just a simple biography; is a sensitive portrait of a woman whose life was as full of glory as it was of pain. Pablo Larraín and Angelina Jolie have created a work that not only honors the memory of Maria Callas, but also highlights the complexity of her legacy.

With awards season approaching, it’s fair to say that Maria is positioning herself as a contender, especially in the categories of Best Actress and perhaps Best Director. Jolie’s performance has already earned her a Golden Globe nomination. In short, “Maria” is a film that offers a rare and intimate view of one of the most iconic voices in world opera and presents a cinematic work that is, at the same time, visually stunning and emotionally impactful.

You can find Maria in theaters starting January 16th.

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Bolero, The Mystery of Ravel, directed by Anne Fontaine, was selected for the 15th edition of the Varilux French Film Festival 2024. The film boasts impeccable production, with an appropriate cast, meticulously recreated period costumes and sets, and clear dialogue that elucidates the plot. However, this precision and assurance can be seen as an overly summarized approach and perhaps stifling in terms of narrative potential.

Bolero is set in 1928, during the vibrant and crazy years of Paris, when dancer Ida Rubinstein commissions Maurice Ravel to compose a composition for her next ballet. Facing a crisis of inspiration, the film takes us on a journey through the chapters of Ravel’s life, expertly played by Raphaël Personnaz, including his early challenges, the scars of the Great War, and an unrequited love for his muse Misia Sert. Ravel, a complex and Cartesian figure, is portrayed as a remarkably sensitive man devoted to music – to the point of declaring that he never married because he was married to music.

Despite the impeccable setting and good narrative intentions, the film often succumbs to an approach that does not fully explore the emotional and psychological potential of its characters. There are several possible films within this one, each more provocative than the last, but they all seem stifled of their unique possibilities by this summary approach. Ravel’s sexual repression, for example, is underutilized; his lack of carnal impulse is reduced to unrequited gestures of affection or an inability to express his true feelings. This explosion of possibility is treated merely as a backdrop, failing to reach the necessary emotional climax.

The film also fails to deeply explore Ravel’s intellectual and emotional perception of the ballerina’s artistic work, evidencing a perceptual gap between him and dance from a purely intellectual point of view. Such nuances are present and available to the attentive eye, but Fontaine’s direction, although competent, does not dedicate them the attention they deserve, preferring to maintain a safe and linear narrative in a “safe zone”.

Bolero is a pleasant film, which knows how to seduce the viewer with its mixture of captivating lightness and beauty. However, it reveals itself to be a work without great narrative scares, but also without great provocations. Anne Fontaine, in constructing the biography of Maurice Ravel, delivers us a visually splendid work, but one that seems content to remain on the surface of the character’s drama, instead of delving into the depths of his emotional complexities.

Distributed in Brazil by Mares Filmes and with a free age rating, the film, despite its sophisticated pretensions and meticulous study of the period, could have been a more intimate and penetrating study of Ravel.

You can find Bolero at the Varilux Festival 2024.

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Portrait of a Certain Orient is an adaptation of the award-winning novel Relato de um Certo Oriente by Milton Hatoum. The plot begins in 1949, when the Lebanese Catholic siblings Emilie and Emir leave a Lebanon on the brink of war, embarking towards the unknown Brazil. During the crossing, Emilie falls in love with the Muslim merchant Omar, arousing the uncontrollable jealousy of Emir, who blames the Muslims for the tragic death of his parents. The journey becomes even more dramatic when a fight between Emir and Omar results in an accidental gunshot that seriously injures Emir. Emilie, desperate, seeks help in an indigenous village in the Amazon jungle to save her brother’s life. Once recovered, they continue to Manaus, where Emilie’s choices lead to tragic consequences.

Shot in stunning black and white, Pierre de Kerchove’s cinematography is one of the film’s greatest strengths. Each scene is carefully crafted. The close-ups bring a powerful intimacy, allowing the audience to connect deeply with the characters’ emotions. At various moments, the photography refers to the works of Sebastião Salgado, transporting the viewer to an “Amazonian scene” of rare beauty.

Marcelo Gomes, whose filmography includes works such as Cinema, Aspirinas e Urubus and Viajo porque preciso, Volto porque te amo, once again demonstrates his ability to translate complex and human stories to the cinema. The adaptation of “Relato de um Certo Oriente” is handled with delicate sensitivity, balancing fidelity to the literary text with an inventive cinematic approach. Gomes manages to transform the memories and streams of consciousness of the novel into a visually rich and emotionally charged narrative.

The subtle and evocative soundtrack perfectly complements the aesthetics of the film, where sound is often present in nature. Instead of dominating the narrative, the music works in harmonious synergy with the cinematography, highlighting moments of tension and introspection without ever distracting the audience from the central story.

In addition to the cinematography, the performances are another pillar of Portrait of a Certain Orient. Wafa’a Celine Halawi offers a multifaceted and profound Emilie, while Zakaria Kaakour and Charbel Kamel bring intensity and authenticity to their roles. The participation of Rosa Peixoto and her family, borrowing indigenous rituals and customs, adds a valuable cultural contrast to the plot. The narrative addresses issues of memory, tradition and identity in a way that resonates deeply.

Portrait of a Certain Orient is an intimate study of memory, passion and prejudice, immersed in the context of Lebanese immigration in the Brazilian Amazon. The work is a warm homage to the emotional and cultural complexity of Milton Hatoum’s novel, translated to the screen with sublime mastery by Marcelo Gomes.

Marcelo Gomes delivers an intimate epic that remains faithful to the spirit of the original novel, while creating something profoundly new and admirable.

You can find Portrait of a Certain Orient in cinemas from November 21st.

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Avenida Beira-Mar, the latest feature film by Maju de Paiva and Bernardo Florin, is a work that redefines the coming of age genre through an authentic and sensitive look at adolescence, family relationships and the search for identity. The film arrives with significant weight, supported by the ELAS Seal of Elo Studios, which aims to promote gender equality in audiovisual media.

The plot revolves around Mika, a young woman who searches for her identity amidst the rigidity and lack of understanding of her parents, contrasting with her redefinition of the use of clothes left by her older sister, who no longer lives in the same house. In an emotional twist, Mika meets Rebeca, a new friend who transforms both of their lives.

The friendship between the two girls, against all odds, creates the driving force of the narrative. Instead of the predictable abyss caused by their differences, they build a bond of complicity and mutual support. However, the adults’ small and prejudiced view of this friendship triggers a series of dramatic events, transforming the quiet Avenida Beira-Mar into a stage for confrontations.

Maju de Paiva and Bernardo Florin demonstrate remarkable direction, focusing on intimate atmospheres and developing characters with depth. This competence was recognized at the Guadalajara International Film Festival, where they won the award for Best Director.

The script, which had already been recognized at FRAPA 2018 and other festivals, adds value to the film. The dialogues are strong and genuine at the same time, and the dramatic situations reverberate the essence of everyday life, but with a touch that invites reflection.

Avenida Beira-Mar stands out not only for its narrative, but also for the movement it represents. The ELAS Cabíria Telecine 2020 Seal Award, the Maguey Award and the participation in the Festival Des 3 Continents, in Nantes, confirm the importance and relevance of the film on the international scene.

Maju and Bernardo explain that the project was born from the desire to present new protagonists who belong to our universe, instead of the golden image of childhood often portrayed in American films. The journey of Mika, Rebeca and Marta reflects our search for belonging and mutual understanding, celebrating what we have in common.

Avenida Beira-Mar is a film that not only navigates the turbulent waters of adolescence, but also challenges traditionally plasticized narratives by bringing to light stories that need to be told with empathy. Reminding us of the power of cinema as a tool for identification and connection, offering a mirror to experiences that, although individual, are deeply human.

With a promising direction, a sensitive script and a powerful message, the feature film is essential for everyone.

You can find Seaside Avenue in cinemas from November 21st.

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Anyone who watches Demi Moore’s new film, The Substance, will certainly remember it. Set in the vibrant city of Los Angeles, the film opens with a shot of the iconic Hollywood Walk of Fame, where a new star is being installed. This star belongs to actress Elizabeth Sparkle, played by Moore, and is soon seen crumbling, cracked and trampled on—a symbolic foreshadowing of the narrative’s central themes: youth, beauty and belonging.

A 50-year-old Elizabeth, recently fired from a TV show due to low ratings, resorts to extreme measures to recreate a perfect version of herself. What begins as a feminist film, addressing ageism and beauty standards, quickly transforms into something distinctly unforgettable and profound. Sparkle resorts to a mysterious process of “home cloning” with the help of an illicit drug, resulting in the birth of Sue, a young and cheerful doppelganger (played by Margaret Qualley) who literally emerges from her spinal column.

This ritual of rejuvenation, repeated every seven days, is at the heart of the film’s criticism. The condition of cyclical body swapping reveals the devastating consequences and emphasizes the transience of youth and beauty. Elisabeth is presented as the “matrix,” living under the constant pressure of bodily discontent as she ages, metaphorically illustrating that even the evil queen was once a princess, haunted by the reflection that reminds her of the time that stole her youth.

As Elisabeth uses her younger self to achieve her goals, she initially gets what she always wanted. However, the narrative takes a dark and visceral turn as we begin to see the adverse effects of her choices. The Substance does not skimp on elements of body horror, replete with gore and deeply unsettling moments. A landmark for fans of Julia Ducournau, who is well-known for her body horror films ranging from shorts to feature films.

Demi Moore’s performance as a fading star is devoid of glamour. She embraces the rawness and vulnerability of the role, highlighting the deteriorating beauty of Elisabeth Sparkle. “In a way, I felt like I wanted to do that,” she explains. “Part of what made it interesting was going to such a raw and vulnerable place, to really let go. And it was quite liberating in many ways.”

The narrative also deconstructs expectations associated with fairy tales, with the film’s conclusion featuring a striking line by Dennis Quaid, “pretty girls should always smile,” underscoring the persistent pressures surrounding femininity and beauty standards. This dialogue, a critique of the idealism of princess tales, reinforces the brutality of the reality addressed in the film.

Visually, director Coralie Fargeat creates a universe that mixes glamour, fear and disgust. His direction, coupled with the stellar performances of Moore and Qualley, is vital to the film’s effectiveness as an allegory about the dangers of obsessing over physical perfection. The film’s editing, with its crisp, raw transitions, keeps the viewer immersed in the brutality of the narrative.

“The critical point is the constant feeling that time is running out,” says Fargeat. This sense of urgency is palpable throughout the film, emphasizing the ephemerality of beauty and the relentless pressure to maintain it.

The Substance premiered at the Cannes Film Festival, and the film quickly became one of the most talked-about films of the 2024 edition. It is currently in theaters and will be released on MUBI on October 31, offering a disturbing and relevant narrative.

The film’s exploration of “body horror” is not merely for shock value, but to reflect the physical, bodily and emotional barriers that people go through to meet beauty standards. In an era of endless aesthetic procedures, the film presents a modern, critical and, at times, surrealist perspective on the obsession with youth and appearance.

The Substance is a film that provokes reflection, discomfort and admiration, not only challenging the limits of conventional horror, but also offering a striking critique of the obsession with youth and beauty.

You can find The Substance in theaters and from October 31st, on Mubi.

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Ken Loach, one of the great masters of British social realism, offers with The Last Pub a narrative that combines the filmmaker’s unmistakable style with deeply relevant themes. However, the approach, this time, is somewhat didactic and predictable, which dilutes part of the emotional impact that Loach seeks to achieve.

Set in a decaying village in the northeast of England, the film follows TJ Ballantyne (Dave Turner), the owner of a pub that is the last refuge of a community devastated by the closure of the coal mines. The arrival of Syrian refugees, including the young Yara (Ebla Mari), shakes up the local routine and exposes the prejudices and tensions latent in the population.

The script by Paul Laverty, a frequent collaborator of Loach, does not shy away from acid humor, but is predominantly serious and thoughtful. Laverty conveys his messages in a clear and direct, almost didactic way, making the film’s themes conveyed without intermediaries. This, however, ends up creating a feeling that we are being led through a narrative with a predefined purpose, leaving little room for subtlety.

Dave Turner brings a grounded and melancholic performance to TJ, conveying the essence of a man torn between his commitment to the pub’s regular customers, many with xenophobic views, and his desire to help the refugees. Ebla Mari, on the other hand, embodies Yara with a quiet strength and determination, despite some overly expository lines.

The film does not shy away from its intentions. When TJ talks about injustice and how we often blame those below us in the social hierarchy, or when Yara explains her exile in a didactic way.

The supporting characters, such as Charlie (Trevor Fox), the bigoted local, and Tania (Debbie Honeywood), the village idealist, help to populate the setting with credible figures, who reflect the naturalistic realism that Loach always sought. This strong performance by the cast, along with Robbie Ryan’s naturalistic photography, which viscerally captures the harshness of life in the village, contrasts with the simplicity of the script.

“It takes strength to make something beautiful.”

The film’s structure, however, tends to follow predictable paths, with deaths and interactions supposedly designed to draw tears. These narrative mechanisms, although effective in provoking emotional reactions, do not feel genuine, giving the audience the feeling that their emotions are being manipulated.

The Last Pub is, without a doubt, a work full of good intentions and important messages, especially in a global context where migration flows and prejudices have become constant issues. Even so, the explicit preaching and lack of nuances in the narrative may alienate some audiences who seek a more authentic emotional connection and a less directed cinematic experience.

“This is not charity, it is solidarity.”

Ken Loach, in his supposed last film, offers a toast to his legacy of social realism, but perhaps a toast that leaves a somewhat bittersweet taste in the mouth. The Last Pub reminds us of the power of small kindnesses and solidarity in times of crisis, but does so in a way that sometimes sacrifices authenticity in favor of didacticism.

You can find The Last Pub on Now.

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I’m Still Here, directed by Walter Salles, features a meticulous combination of powerful performances, narrative and distinctive cinematography, elements that make this film an unforgettable experience.

Fernanda Torres and Selton Mello play a crucial role in conveying the feelings of their characters, creating a visceral connection between the audience and the Paiva Family. Through authentic and moving performances, the actors manage to evoke a range of complex emotions, from hopelessness to tireless determination. This feat, however, is not achieved solely through their performances, but by the perfect choice of actors who enrich the already robust script by Murilo Hauser and Heitor Lorega.

Walter Salles, known for his work in “Central do Brasil” (1998), uses his skill to create an intimate and familiar tone that permeates the entire narrative. The photography and editing are high points in the film, standing out in the national scene for its originality and aesthetic depth. Each frame and each camera movement are calculated to transport the audience directly to the 1970s, a time marked by the hardening of the military dictatorship in Brazil.

Based on the book of the same name by Marcelo Rubens Paiva, the script for Ainda Estou Aqui offers a dense and emotionally charged plot, which portrays the struggle of Eunice (Fernanda Torres) to discover the whereabouts of her husband, Rubens Paiva (Selton Mello), an engineer and former congressman who was taken from their home and never returned. The narrative is not only a historical account, but an exploration of the emotional and psychological repercussions of the dictatorship, which continues to resonate in memories to this day.

The technical aspects of the film are impeccable, with photography that captures the essence of the time and editing that allows the film to maintain a perfect rhythm, along with the soundtrack marked by Gal, Caetano, Mutantes, among others.

The universality of the story is one of its greatest virtues. The film transcends the specificity of the Brazilian context of the military dictatorship to address themes of the search for truth, justice and resilience in the face of oppression. The co-production with France and the language in Portuguese do not prevent the plot from communicating with international audiences, making Ainda Estou Aqui a strong example of a Brazilian production that has the potential to dialogue with different cultures and contexts.

Ainda Estou Aqui is an emotional experience that invites the audience to reflect on a dark period in history, yet so close to our reality. The shock provided by real and tangible events provides a rare level of emotional engagement, leaving the audience deeply touched and contemplative.

In short, Ainda Estou Aqui stands out as a masterpiece of national cinema, offering a combination of sublime performances, sensitive direction and a historical narrative that maintains its relevance and emotional impact.

Ainda Estou Aqui can be found in the main cinemas in Brazil starting on November 7th.

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In A Vilã das Nove, Roberta (Karine Teles) is finally living the best phase of her life. Recently divorced and enjoying a new life with her daughter Nara (Laura Pessoa), Roberta feels invigorated and ready to embrace new opportunities. However, her peace is shaken when she discovers that her past, marked by difficult choices and abandonment, has been transformed into the plot of a 9pm soap opera, where she is portrayed as the villain.

A Vilã das Nove, directed by Teodoro Poppovic, is a dramatic comedy that uses the Brazilian television setting, familiar to the public, to tell a curious and humanized story. The film takes us to the world of soap operas, which makes it impossible not to immediately remember the great productions of Globo, SBT, and Record that shaped generations with their plots and memorable characters, whether through a scene or the characterization of the character within the soap opera that is in the film.

Poppovic directs a narrative that fuses the melodrama characteristic of Brazilian telenovelas with a uniquely engaging metalanguage. The script carefully treads the fine line between television fiction and real life, exploring how our personal stories can be reinterpreted and distorted when they enter the public sphere.

Roberta (Karine Teles) discovers that her life has been transformed into the plot of a prime-time soap opera on Brazilian TV where iconic characters such as Globo’s Odete Roitman and SBT’s Maria do Bairro shone brightly. The way in which Roberta’s life is meticulously unfolded, creating parallels with celebrated soap operas of the past, such as Avenida Brasil and Senhora do Destino, is at once nostalgic and innovative.

Karine Teles delivers a powerful and authentic performance as Roberta, whose existential crisis and search for redemption anchor the film emotionally. Alice Wegmann, in the role of Débora, imbued with resentment and pain, masterfully complements the interpretation of her fictional mother. The rest of the cast, including Otto Jr., Camila Márdila and Antônio Pitanga, contribute significantly to the depth and authenticity of the narrative.

The soundtrack is another highlight, ranging from classics by Marina Lima to carefully chosen international compositions. Each song is designed to underscore the drama and comedy. The photography and editing are well executed, capturing events from the present, past and the recording of the soap opera. The vocal preparation of the cast, an often overlooked part and rarely shown to the public who are unaware of the functions involved in the production of an audiovisual work, is highlighted.

The metalanguage present in the film, by showing the stages of creating a soap opera – from the conception of the script to the recordings – offers a glimpse behind the scenes of television. The dialogue that leads us to understand that “Everything is resolved in the script” encapsulates the essence of what makes a good telenovela or what leads it to its abyss, highlighting the importance of a good narrative, whether in real life or in fiction.

Vilã das Nove is not only a tribute to the world of Brazilian telenovelas, but also a deep exploration of the themes of regret, redemption and family relationships. Poppovic delivers a film that is, at the same time, a tribute and a critique of the power and influence of television productions in people’s lives. With great performances and a script with powerful dialogues, the film had its first screenings at the Rio Festival.

You can find A Vilã das Nove in the main cinemas in Brazil starting October 31st.

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