My relationship with cinema goes back a long way, when I was still a teenager, I bought a Super 8 camera and founded a film club in my neighborhood where I used to show different kinds of cinematographies, unknown to the general Brazilian public, including national films themselves.

Then, I studied journalism at PUC in Rio de Janeiro, until I found the opportunity to study cinema. This happened at the EICTV - International Film & Tv School - in Havana, Cuba. 

That's where I was able to connect the two passions of my life: making movies and trying to change the world. 

I became a cinematographer, but I got a job as a director and screenwriter. After a few shorts, I directed my first feature film: "Soy Cuba, The Siberian Mammoth" which took me to major festivals such as IDFA (Netherlands), SUNDANCE, and an unimaginable number of awards.

Then came the invitation to direct with six other directors, such as Wang Bing, Chantall Akerman, Apichatpong, and Pedro Costa to co-direct "O Estado do Mundo". With this film, I arrived at the Cannes Film Festival to be part of the Director's Fortnight.

Shortly following, I shot "A Estrada 47" (2014), a war film in Italy, with notable Brazilian actors, from Italy none other than Sergio Rubini and from Germany the extraordinary Richard Sammel. A big challenge because we filmed during a harsh winter in the Apennines, a complex production because narrating a story about the unknown participation of Brazilian soldiers in World War II was a great commitment to those unacknowledged heroes. That's how we won the award for best film at the Gramado Film Festival in Brazil. What makes me most satisfied is having reached many markets; France, Germany, UK, and more exotic ones like Japan, Turkey, Malaysia, Thailand, China, Finland, and more.

Nowadays, I dedicate myself to the documentary "A Cabeça do Cachorro", about the threatened universe of indigenous people in the Upper Amazon, which, in some way, is the continuation of other films I've made. I wanted, once again, to follow the characters' daily lives, their minimal apparent gestures, but which are found in an epic and universal context. It is the world of the forgotten, the oppressed, those who make history move forward and perhaps, for that very reason, suffer the greater injustices.

My fascination for the characters and the interaction with their social universes are the engine for directing and developing content that can be applied to all types of audiovisual formats.