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still Creche-Lar (Maria Luiza d’Aboim, BR 1978)

UMA OUTRA HISTORIA – Four Films on Labor Rights for Women in Brazil

Eye International Conference: UMA OUTRA HISTORIA – Four Films on Labor Rights for Women in Brazil

The annual Eye International Conference is an opportunity for scholars, archivists, curators, filmmakers, and students from across the world to gather and explore contemporary professional and academic issues affecting audiovisual heritage today. The 2022 edition will focus on the imbalance or current misrepresentation of global audiovisual heritage holdings, looking in particular at the alarming scarcity of audiovisual heritage from the Global South in the digital space.

poster UMA OUTRA HISTORIA – Four Films on Labor Rights for Women in Brazil

This film screening and presentation is part of the7th Eye International Conference on Global Audiovisual Archiving (29-31 May 2022).

UMA OUTRA HISTORIA – Four Films on Labor Rights for Women in Brazil highlights the essential contributions of women filmmakers to the documentary form in Brazil. These short-form feminist works – presented initially on television and at regional feminist film clubs and international film festivals – address key labor struggles in spaces as diverse as the brothels of São Paulo’s Boca do Lixo to the textile markets of Santa Cruz do Capibaribe in Brazil’s Northeastern region.

A program curated by Another Gaze and Cinelimite.

Presented by William Plotnick (Cinelimite) and Matheus Pestana (Cinelimite).


  • Creche-Lar (Maria Luiza d'Aboim, BR 1978, 8')

    During the 1970s, filmmaker Maria Luiza d’Aboim was part of the Center for Brazilian Women (CMB), a feminist organization that provided a forum for thinking through the place of women in society. The lack of creches and the urgent need for public infrastructure designed to support mothers with childcare were recurring discussion points at the center. D’Aboim’s first film, Creche-Lar (Home-Daycare), documents the search for practical solutions as implemented by an experimental community daycare project in Vila Kennedy, Rio de Janeiro, which employed mothers from the local community.

  • Mulheres: uma outra história (Eunice Gutman, BR 1988, 35’)

    Mulheres: uma outra história focuses on various aspects of women’s participation in the Brazilian political scene, featuring interviews with women in the Constituent Assembly and leaders of the rising women’s rights movement. Suffragist Carmen Portilho appears in the film to remind viewers about the long history of struggle for women to earn the right to vote in the country.

  • Mulheres da Boca (Inês Castilho en Cida Aidar, BR 1982, 22’)

    Filmmakers Cida Aidar and Inês Castilho met as part of the feminist collective that edited the newspaper Nós Mulheres between 1976 and 1979. Filmed in 1981 in the Boca do Lixo region of São Paulo, infamous for its porn cinemas and brothels, Mulheres da Boca reveals the lives of sex workers on their own terms, as they are captured between seduction, play, and violence, against the backdrop of the corruption and abuse exercised by those who ran the Boca de Lixo.

  • Sulanca (Katia Mesel, BR 1986, 14’)

    The Feira da Sulanca still exists as a famous market that sells and exports items for the national clothing industry in Pernambuco, Northeastern Brazil. While these markets were once an unfriendly place for women struggling to make a living, Katia Mesel’s Sulanca documents the economic revolution of the women of Santa Cruz do Capibaribe: sewers who, through collaboration and willpower, managed to make lives for themselves and change the socioeconomic panorama of Brazil’s most neglected region.



99 min.

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Part of

Eye International Conference 2022

Eye Filmmuseum, the University of Amsterdam (UvA), Amsterdam School for Cultural Analysis (ASCA), and the Association of Moving Image Archivists (AMIA) will present the 7th Eye International Conference on ‘Global Audiovisual Archiving: Exchange of Knowledge and Practices’.

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still Mulheres da Boca (Inês Castilho & Cida Aidar, BR 1982)
still Creche-Lar (Maria Luiza d’Aboim, BR 1978)
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