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Clara, a 65 year old widow and retired music critic, was born into a wealthy and traditional family in Recife, Brazil. She is the last resident of the Aquarius, an original two-story building, built in the 1940s, in the upper-class, seaside Avenida Boa Viagem, Recife. All the neighboring apartments have already been acquired by a company which has other plans for that plot. Clara has pledged to only leave her place upon her death, and will engage in a cold war of sorts with the company, a confrontation which is both mysterious, frightening and nerve wracking. This tension both disturbs Clara and gives her that edge on her daily routine. It also gets her thinking about her loved ones, her past and her future. [Synopsis courtesy of Cannes Film Festival]

Neighbouring Sounds

A palpable sense of unease hangs over a single city block in the coastal town of Recife, Brazil. Home to prosperous families and the servants who work for them, the area is ruled by an aging patriarch and his sons. When a private security firm is reluctantly brought in to protect the residents from a recent spate of petty crime, it unleashes the fears, anxieties and resentments of a divided society still haunted by its troubled past.

Neon Bull

Wild, sensual and transporting, Mascaro’s second fiction feature unfolds within the tough, macho world of the vaquejada, a traditional rodeo sport in which cowboys try to pull bulls to the ground by their tails. The film explores the vaquejada through the eyes of Iremar, a handsome cowboy who works the events. Home for Iremar is the truck used to transport the animals from show to show, which he shares with his makeshift family: Galega, an exotic dancer, the truck driver and mother to the young and spirited Cacá, and Zé, his compadre in the bullpen. While he’s not afraid to get his hands dirty, Iremar’s real dream is to design exotic outfits for dancers.