Film installed in two channels
Distribuited by Square Eyes 
A spell breaking, QUEBRANTE traverses the caves, ruins and phantasmagorias of Transamazon BR230 Highway, portraying its stones and its ghosts.

Set in the tiny town of Rurópolis (Pará) - the very first one to be build in the Highway to serve as a base for the workers that were building it - QUEBRANTE follows Ms. Erismar, known in the region as "The Cave Woman". A retired elementary school teacher, Ms. Erismar was the one responsible for the discovery of the region's caves: she would enter the dark unknown holes till their ends, with only a candle in her hands and a lighter tied to her pants - in case the flame would fade out.

A conversation between the moon and the stones, QUEBRANTE is freely inspired in Robert's Smithson project THE TRULY UNDERGROUND CINEMA (1971) and in the film THE VERY EYE OF THE NIGHT (1958) by Maya Deren. 


10’ | 2021
Video Installation – Projection and Vertical LED Panel (250 x 150 cm) + Painted 16mm film and Digital
Produced by Gasworks London and Triangle Network
Frankenstein Cow is a romantic experimental documentary-sci-fi, situated in the present.
The installation portrays a tender Frankenstein Nelore cow as the main character of the solastalgia of the present time.

In 1816, the sky across Europe turned red thanks to the eruption of Mount Tambora. The romantic and surreal atmospheres of J.M. Turner, John Crome and Caspar D. Friedrich are the portrait and documents of this era. It was in that twilight summer that a nineteen-years-old girl named Mary Shelley wrote the first science fiction in history, about a tender, lonely animated meat machine: Frankenstein – or the modern Prometheus. In 2022, however, the volcano became human-kind, and Frankenstein, a cow.

History tells that whoever has the good fortune to see a Green Flash will have a great change in his life. With the work I wanted to give the Frankenstein Nelore cow a Green Flash, finally breaking her cyclical destiny.

CURUPIRA E A MÁQUINA DO DESTINO (Curupira and the machine of the destiny)
25’ | 2021
Documentary-Fiction | 24'40'' | DCP | Color | 16:09 | Brazil - France 
Filmed in Amazonas, Brazil, on the roads Estrada Fantasma (Phantom Road) BR-319, Transamazônica BR-230 and in the real village of Realidade (Reality), “Curupira and the machine of the destiny” is the encounter in the present time between the creature curupira, protectress of the forests of Brazil, and the incarnated ghost of Iracema, a 14-year-old prostitute, fictional character in the film “Iracema - uma transa amazônica” (1974, Jorge Bodanzky and Orlando Senna. Iracema’s ghost sets out on his quest at the crossroads of the straight roads of Amazonas to find curupira and avenge the future.


10’ | 2021
In 1970 the civic-military dictatorship shouted: “Down with the curupiras, macunaímas, botos, cobras noratos! Wood, manganese, bauxite, cattle, iron, soy now!”. Published in the very popular magazine Veja, in 1970, the ad is by SUDAM - Superintendence for the Development of the Amazon, an autarchy of the federal government of Brazil, created in 1966. In the late 1960s, the the government established through the civil-military dictatorship of Brazil launched its national and nationalist campaign for the occupation of the Amazon: "Integrate so as not to deliver". The developmental project had as its bastion the monumental straight lines that have been crossing the living mass of the forest ever since. It was only a few months before the publication of the above announcement that the military began construction of what were the first major roads to integrate the far north of Brazil. For Estrada Fantasma I invited two women that have been living Realidade District to hold a improvised cinema screen during the night, on the middle of the BR-319, known as the Phantom Road. The images that were projected are the National Archives of Brazil that register the construction of the road 50 years ago.

7’ | 2020
Amazonas, Brazil: at the confluence of Rio Negro and Rio Jaú there are ruins of a small town called Airão. Founded by Portuguese missionaries in 1694, Airão concentrated the entire rubber production in the region. After rapid and unsustainable economic growth, followed by the d ecline of the Rubber Cycle, the city went bankrupt. A politician at the time said that the population it was being eaten by ants. Ruined, Airão was abandoned. Filmed in Velho Airão and Igapó-Açu BR319, Amazonas - Brazil march / 2020

LICANTROPIA (lycanthropy)
27’ |

Licantropia is an atonement of the figure of the werewolf, a creature shaped by men-kind as a scapegoat to give contour to cruel acts perpetrated by humanity through the course of history. Narrated by the moon during the course of a night and merging fiction and reality, the film is a collage of 16mm, digital, engravings, texte and anonymous testimonies. The werewolf, a hybrid being, operates always “in between”, transitioning around the limits of reality and invention, lie and truth, history and stories : it is an amalgam that merges in one single image the human and the animal, operating as an approachable bridge to investigate civilizing processes of domination through history.

 | 2018

Ventura is an essay on the worlds, creatures and fantasies that inhabit the days of now: strange blurred mixture of a so called magnificent progress and sad nature. Mr. Ventura was born and raised in Angola, surrounded by elephants. Today, 40 years later, he makes his living by caring for an iron and wood elephant - a monumental tourism attraction, a mixture of automaton and contraption, lost in a city in the interior of France.

"Here, my poor elephant / ready to leave / and search for friends / in a world already tire / that no longer believes in animals / and doubts things."

LOBISOMEM  (werewolf)
18’ | 2016
Werewolf is a film and the outcome of a six months research art residency Bols Pampulha, in Minas Gerais - Brazil. Researching the figure of the Werewolf through the maxim “man is a wolf to man” and thinking about a creature like this in our time took me to the image of a deactivated iron- mining field: a men-shaped dismantled mountain. The land eaten by the mouth of the machines are the human part, and the brutal nature that lasts despite the exploitation, the wolf. A mining field is a landscape created by human tools — a post apocalyptic ruin of soil, an entropic scenario projected in order of the production of a so-called developmental progress, in the shape of fossil energy. An empty and silenced artificial contemporary desert.

A DOENÇA DA MORTE (the sickness of death)
10’ | 2012

CRIATURA (creature) 
10’ | 2016

MORTINHOS (litte dead ones) 
5’ | 2013

PROGRESSO (progress)  
4’ | 2014

A car moves towards a dense, bulky, gloomy, grayish pink cloud and then penetrates the darkness. The audio, a mixture of beats and photographic flares, belongs to the artist's sound archive, and was recorded during the demonstrations against the World Cup in 2014 in São Paulo, Brazil.

TERRENO (land)
9’14’’ | 2014 

Terreno uses promotional films from American companies specialized in the production and sale of prefabricated houses to investigate the processes developed by man to protect himself from contingencies such as natural disasters. In these films, inside an industrial warehouse, full-scale models of houses undergo resistance tests to artificial natural phenomena.