Rani Guerra

Dispossessed in an essay about the daily bread. In a country like Brasil, of such abyssal social inequality as there is here, it's urgent for me in cinema to talk about the class to which I belong, the class-who-lives-on-labor. And, alongside that, about the labor relations, the survival, the unemployment, the increasingly impoverished life, the small popular uprisings and the confrontations with the non natural order of things. In "Bread and People", we deal with ruins. And in the struggle of the old against the new, we face mainly the ruin of an idea of progress, and the debris of a critical anti capitalist art today. We've deepened our investigation of an epic, historical and dialectical cinema, using the materials of inspiration themselves.

Carolina lost her daughter at birth due to a cruel hospital mix-up. Years later, she becomes the nanny of a sweet little girl, unaware that the child is her stolen daughter — and that the girl’s father, Justamente, is the man she never forgot and the biological father of her child. ​Carolina must fight against the schemes of Valentina, her new employer’s ambitious and ruthless girlfriend, while uncovering a secret that could destroy the traditional Vergara family.