剧情介绍：
50分钟的纪录片拍摄居住在里约北部贫民区的孩子们。
The daily life in a shantytown in the north part of Rio de Janeiro, with 10,000 people living in bad conditions, their problems and the issue of police violence.
Filming the word-in-act, the present events and the characters' uniqueness without proposing explanations or solutions, such are the principles of Eduardo Coutinho's cinema, plus another in his more recent works: filming in a demarcated space, in a specific favela (Santa Marta, Parque da Cidade, Babilonia), a garbage dump (Boca de Lixo), or an apartment building (Edifício Master). Spatial geography became essential to Coutinho's films, which imposes certain lines on what is to be filmed, immediately accentuating the immanent nature of the images produced by this film-maker. These principles make Eduardo Coutinho's cinema one of the present, but an impure present, not only that of actuality, but of remembrance or evocation.
The daily life in a shantytown in the north part of Rio de Janeiro, with 10,000 people living in bad conditions, their problems and the issue of police violence.
Filming the word-in-act, the present events and the characters' uniqueness without proposing explanations or solutions, such are the principles of Eduardo Coutinho's cinema, plus another in his more recent works: filming in a demarcated space, in a specific favela (Santa Marta, Parque da Cidade, Babilonia), a garbage dump (Boca de Lixo), or an apartment building (Edifício Master). Spatial geography became essential to Coutinho's films, which imposes certain lines on what is to be filmed, immediately accentuating the immanent nature of the images produced by this film-maker. These principles make Eduardo Coutinho's cinema one of the present, but an impure present, not only that of actuality, but of remembrance or evocation.