Camboja<\/a>)<\/p>\n“Hochelaga, Land of Souls” de Fran\u00e7ois Girard (Canad\u00e1)<\/p>\n
“A Fantastic Woman” de Sebasti\u00e1n Lelio (Chile)<\/p>\n
“Wolf Warrior 2” de Wu Jing (China)<\/p>\n
“Pop Aye” de Kirsten Tan (Cingapura)<\/p>\n
“Guilty Men’ de Iv\u00e1n D. Gaona (Col\u00f4mbia)<\/p>\n
“A Taxi Driver” de Jang Hoon (Cor\u00e9ia do Sul)<\/p>\n
“The Sound of Things” de Ariel Escalante (Costa Rica)<\/p>\n
“Quit Staring at My Plate” de Hana Ju\u0161i\u0107 (Cro\u00e1cia)<\/p>\n
“Ice Mother” de Bohdan Sl\u00e1ma (Rep\u00fablica Tcheca)<\/p>\n
“You Disappear” de Peter Sch\u00f8nau Fog (Dinamarca)<\/p>\n
“Woodpeckers” de Jose Maria Cabral (Rep\u00fablica Dominicana)<\/p>\n
“Alba” de Ana Cristina Barrag\u00e1n (Equador)<\/p>\n
“Sheikh Jackson” de Amr Salama (Egito)<\/p>\n
“November” de Rainer Sarnet (Est\u00f4nia)<\/p>\n
“Tom of Finland” de Dome Karukoski (Finl\u00e2ndia)<\/p>\n
“BPM (Beats Per Minute)” de Robin Campillo (Fran\u00e7a)<\/p>\n
“Scary Mother” de Ana Urushadze (Georgia)<\/p>\n
“In the Fade” de Fatih Akin (Alemanha)<\/p>\n
“Amerika Square” de Yannis Sakaridis (Gr\u00e9cia)<\/p>\n
“Ayiti Mon Amour” de Guetty Felin (Haiti)<\/p>\n
“Moraz\u00e1n” de Hispano Dur\u00f3n (Honduras)<\/p>\n
“Mad World” de Wong Chun (Hong Kong)<\/p>\n
“On Body and Soul” de Ildik\u00f3 Enyedi (Hungria)<\/p>\n
“Under the Tree” de Hafsteinn Gunnar Sigur\u00f0sson (Isl\u00e2ndia)<\/p>\n
“Newton” de Amit V Masurkar (\u00cdndia)<\/p>\n
“Turah” de Wicaksono Wisnu Legowo (Indon\u00e9sia)<\/p>\n
“Breath” de Narges Abyar (Ir\u00e3)<\/p>\n
“Reseba \u2013 The Dark Wind” de Hussein Hassan (Iraque)<\/p>\n
“Song of Granite” de Pat Collins (Irlanda)<\/p>\n
“Foxtrot” de Samuel Maoz (Israel)<\/p>\n
“A Ciambra” de Jonas Carpignano (It\u00e1lia)<\/p>\n
“Her Love Boils Bathwater” de Ryota Nakano (Jap\u00e3o)<\/p>\n
“The Road to Mother” de Akhan Satayev (Cazaquist\u00e3o)<\/p>\n
“Kati Kati” de Mbithi Masya (Qu\u00eania)<\/p>\n
“Unwanted” de Edon Rizvanolli (Kosovo)<\/p>\n
“Centaur” de Aktan Arym Kubat (Quirquist\u00e3o)<\/p>\n
“Dearest Sister” de Mattie Do (Laos)<\/p>\n
“The Chronicles of Melanie” de Viestur Kairish (Let\u00f4nia)<\/p>\n
“The Insult” de Ziad Doueiri (L\u00edbano)<\/p>\n
“Frost” de Sharunas Bartas (Litu\u00e2nia)<\/p>\n
“Barrage” de Laura Schroeder (Luxemburgo)<\/p>\n
“Tempestad” de Tatiana Huezo (M\u00e9xico)<\/p>\n
“The Children of Genghis” de Zolbayar Dorj (Mong\u00f3lia)<\/p>\n
“Razzia” de Nabil Ayouch (Marrocos)<\/p>\n
“The Train of Salt and Sugar” de Licinio Azevedo (Mo\u00e7ambique)<\/p>\n
“White Sun” de Deepak Rauniyar (Nepal)<\/p>\n
“Layla M.” de Mijke de Jong (Holanda)<\/p>\n
“One Thousand Ropes” de Tusi Tamasese (Nova Zel\u00e2ndia)<\/p>\n
“Thelma” de Joachim Trier (Noruega)<\/p>\n
“Saawan” de Farhan Alam (Paquist\u00e3o)<\/p>\n
“Wajib” de Annemarie Jacir (Palestina)<\/p>\n
“Beyond Brotherhood” de Arianne Benedetti (Panam\u00e1)<\/p>\n
“Los Buscadores” de Juan Carlos Maneglia e Tana Schembori (Paraguai)<\/p>\n
“Rosa Chumbe” de Jonatan Relayze (Peru)<\/p>\n
“Birdshot” de Mikhail Red (Filipinas)<\/p>\n
“Spoor” de Agnieszka Holland e Kasia Adamik (Pol\u00f4nia)<\/p>\n
“Saint George” de Marco Martins (Portugal)<\/p>\n
“Fixeur” de Adrian Sitaru (Rom\u00eania)<\/p>\n
“Loveless” de Andrey Zvyagintsev (R\u00fassia)<\/p>\n
“F\u00e9licit\u00e9” de Alain Gomis (Senegal)<\/p>\n
“Requiem for Mrs. J.” de Bojan Vuletic (S\u00e9rvia)
\n“The Line” de Peter Bebjak (Eslov\u00e1quia)<\/p>\n
“The Miner” de Hanna A. W. Slak (Eslov\u00eania)
\n“Summer 1993″ de Carla Sim\u00f3n (Espanha)<\/p>\n
\u201cThe Square” de Ruben \u00d6stlund (Su\u00e9cia)<\/p>\n
“The Divine Order” de Petra Volpe (Su\u00ed\u00e7a)<\/p>\n
“Little Gandhi” de Sam Kadi (S\u00edria)<\/p>\n
“Small Talk” de Hui-Chen Huang (Taiwan)<\/p>\n
“By the Time It Gets Dark” de Anocha Suwichakornpong (Tail\u00e2ndia)<\/p>\n
“The Last of Us” de Ala Eddine Slim (Tun\u00edsia)<\/p>\n
“Ayla: The Daughter of War” de Can Ulkay (Turquia)<\/p>\n
“Black Level” de Valentyn Vasyanovych (Ucr\u00e2nia)<\/p>\n
“My Pure Land” de Sarmad Masud (Reino Unido)<\/p>\n
“Another Story of the World” de Guillermo Casanova (Uruguai)<\/p>\n
“El Inca” de Ignacio Castillo Cottin (Venezuela)<\/p>\n
“Father and Son” de Luong Dinh Dung (Vietn\u00e3)<\/p>\n
[\/et_pb_text][\/et_pb_column][\/et_pb_row][\/et_pb_section]<\/p>","protected":false},"excerpt":{"rendered":"
Essa \u00e9 a primeira vez que a Academia recebe tantos inscritos.<\/p>","protected":false},"author":46,"featured_media":68340,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_exactmetrics_skip_tracking":false,"_exactmetrics_sitenote_active":false,"_exactmetrics_sitenote_note":"","_exactmetrics_sitenote_category":0,"footnotes":""},"categories":[1,9066],"tags":[9797,5548,12281,149,9798,12282,12283,9490],"_links":{"self":[{"href":"https:\/\/www.cinemaup.com.br\/en\/wp-json\/wp\/v2\/posts\/68338"}],"collection":[{"href":"https:\/\/www.cinemaup.com.br\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.cinemaup.com.br\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.cinemaup.com.br\/en\/wp-json\/wp\/v2\/users\/46"}],"replies":[{"embeddable":true,"href":"https:\/\/www.cinemaup.com.br\/en\/wp-json\/wp\/v2\/comments?post=68338"}],"version-history":[{"count":2,"href":"https:\/\/www.cinemaup.com.br\/en\/wp-json\/wp\/v2\/posts\/68338\/revisions"}],"predecessor-version":[{"id":68341,"href":"https:\/\/www.cinemaup.com.br\/en\/wp-json\/wp\/v2\/posts\/68338\/revisions\/68341"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.cinemaup.com.br\/en\/wp-json\/wp\/v2\/media\/68340"}],"wp:attachment":[{"href":"https:\/\/www.cinemaup.com.br\/en\/wp-json\/wp\/v2\/media?parent=68338"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.cinemaup.com.br\/en\/wp-json\/wp\/v2\/categories?post=68338"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.cinemaup.com.br\/en\/wp-json\/wp\/v2\/tags?post=68338"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}