Organized by Elcio Brasilio. Edited and reviewed by Anna Paula Bennech and Giovanna Imbernon. "The film's turning point is at the moment when there is the intervention of an interlocutor who, like Fael, is a young black man. He declares: "my story is just like yours". The clash between the traditional documentary interview with the fiction's counter-field removes the margins of support from a purely documentary scene and at the same time shifts the singularity of Fael's testimony to a testimony that is common to so many."

Organized by Elcio Brasilio. Edited and reviewed by Anna Paula Bennech and Giovanna Imbernon. "Defined as a transcription of the theatrical piece, the movie broadens the play’s original meanings by using audiovisual resources and creating what I dare call spaces of possibility of the play’s language and discourse. The very corporeal performance faced the challenge of transforming itself into a cinematic experience."

Organized by Elcio Brasilio. Edited and reviewed by Anna Paula Bennech and Giovanna Imbernon. "We must learn from Raulino, who was a digital enthusiast – one of the first filmmakers to accept and realize the power of the medium – and who believed that from the moment we can press the rec button on, using whatever it is, we can make a film with it."

Organized by Elcio Brasilio. Edited and reviewed by Anna Paula Bennech and Giovanna Imbernon. "Many of the documentaries from this period are directly related to the union movements, often conceived as communication pieces or historical reports. Other films intended to amplify the message of those workers, reaching out the public opinion, although their productions were not involved with the unions. Their social function was oriented by a certain political trend that, in turn, shaped them as oeuvres."

Organized by Elcio Brasilio. Edited and reviewed by Anna Paula Bennech and Giovanna Imbernon. "Considered one of the most censored movies during the dictatorship, Joaquim Pedro de Andrade’s Macunaíma (1969) was unwanted by the military censorship not only for the obscenity of some scenes but also for its ideological content. The figure of Macunaima, a black-skinned indigenous, was not exactly the type of hero the military government was looking for; he was a lazy non-European type who had just come out of Brazil's backwoods."

Organized by Elcio Basilio. Edited and reviewed by Anna Paula Bennech and Giovanna Imbernon. "Brazilian Cinema has been recognized for its tradition of social denunciation. From the Palme d’Or winner Keeper of Promises (1962) to City of God (2002), passing through Entranced Earth (1967) and Pixote (1980), Brazil’s social inequalities have been represented and denounced on the big screen."

Organized by Luiz Eduardo Garcia da Silva. Edited and reviewed by Anna Paula Bennech and Giovanna Imbernon. "Although changing and with minor presidential activism since the Brazilian parliamentary coup against Dilma Rousseff in 2016 (Mariano, Ramanzini, and Vigevani 2021), the Brazilian foreign policy reached its tension and discredit apex within the first years of Jair Messias Bolsonaro government under the remit of Ernesto Araújo as Foreign Affairs Minister, between January/2019 and March/2021 (Frenkel and Azzi 2021)."

Organized by Luiz Eduardo Garcia da Silva. Edited and reviewed by Anna Paula Bennech and Giovanna Imbernon. "Brazil was the leading articulator of the SADC’S creation. The country’s exit from Unasur in 2019 expresses Brazilian foreign policy and leadership retraction within the region. Argentina, Chile, Colombia, Paraguay, and Peru in 2019 and Uruguay in 2020 left the institution too – a setback in regional integration."

Organized by Luiz Eduardo Garcia da Silva. Edited and reviewed by Anna Paula Bennech and Giovanna Imbernon. "those negationist practices and discourses are all but selfless or naïve: besides promoting uncertainties among the public opinion, they mostly aim at keeping the 30% of his electoral basis busy, revolving around the outcomes of negationism, while Bolsonaro, his clan, and parliamentary coalition go ahead with their economic and ideological interests."

Organized by Luiz Eduardo Garcia da Silva. Edited and reviewed by Anna Paula Bennech and Giovanna Imbernon. "This special issue aims to understand and reflect on this change. What were the main drivers of Brazilian foreign policy since January 2019, and how have they changed the path of Brazil’s international insertion? Moreover, our goal is not to present a mere collection of events but, instead, to offer different analyses to support the idea of a non-orthodox President of Brazil."