In Mirai (The Abyss), Gabriel Andrés De Simone works with striking economy, drawing on the visual and affective world of Ghost of Tsushima to shape a compact meditation on conscience under pressure. Beginning from a textual intervention, the film opens onto a reflection on what prolonged exposure to violence does to judgment, feeling, and moral resistance. Its brevity gives the work concentration. De Simone introduces friction into the game’s dramatic logic, shifting attention from action to aftertone, the emotional and ethical residue left once repetition has drained experience of its force. What happens when violence no longer registers as rupture but begins to organise the atmosphere of experience? Mirai (The Abyss) addresses that question with notable precision. Its mood is one of quiet corrosion. The work draws its force from restraint and from the sense that deeper forms of transformation often occur incrementally, through attrition. De Simone uses the game world to think through the dulling of response itself: the dangerous normalisation by which the intolerable becomes ordinary.

A coming-of-age tale of two boys trying to survive amidst rampant corruption and gang violence.

Bob is a car nut who's oblivious to his wife Sue's need for some amorous action and Barry's (his gay neighbor) unrequited affections. When Sue mistakes the legs sticking out under her hubby's car for Bob's and decides to take action, who can tell where events will lead?

When a pedestrian is hit by a bus, the simple clerk Arandir runs and kisses the moribund in a gesture of sympathy and unconditional pure love. Opportunist photographer Amado Pinheiro witnesses the scene and sees the opportunity to sell newspaper and, together with the despicable and abusive chief of police Cunha, accuses Arandir of homosexuality.

Two amateur actors guilty of homophobic acts face their first gay kiss in the middle of shooting a student short film, the recording stops with the first kiss (horrible and uncomfortable). Soon they will discover their past, the guilt and the search for redemption will make them try a romantic and passionate kiss.

Sarah, a beautiful and gifted 15-year-old from a wealthy but chaotic family, holds on to one dream: to run away from home and to become a professional ballet dancer.

A newly promoted book editor discovers a potential best seller, although unfinished, manuscript buried in her predecessor's office. Moved by the passionate love story and drawing parallels to her own life, she embarks on a journey to find the author.

Lieutenant Ryabovich was accustomed to the monotonous life of an officer, but he found another life—society—difficult: ritual conversations, cards, billiards, chance encounters with random women. One of these women kisses Ryabovich in the house of a provincial landowner, and now the officer’s thoughts are consumed by her half-imaginary image. Meanwhile, the frivolous Lieutenant Lobytko teases his gentle friend, unaware of the danger.

When a dying man receives a kiss from a bereaved man who tries to save him, the man is jailed as a homosexual. He is released from jail, but his life has been ruined by the incident -- and the man eventually is killed by his own father-in-law. The kiss that resulted in the eventual persecution and death of the man is never shown in this plodding, downbeat drama.