Izai Amorim

LIBERTY FARM: A FAMILY PORTRAIT (2021)
Set in the semi-arid backlands of northeastern Brazil, spanning one century (1889–1989) and three generations, Liberty Farm is more than a family saga: it’s a complex psychological portrait of family life, intertwined with Brazil’s turbulent history from the birth of the republic to the end of the military dictatorship.

Liberty Farm is a chronicle of family and society; history and geography; life and death; loyalty and justice; truth and connivance. It’s also a tale of love in all of its forms: strongly felt; unreciprocated; withheld; unequally distributed; yearned for; never obtained.


ON THE RUN (2016)
New York City, early 1990s: a young, rich, and well-educated Central American man on the run from the police and Colombian drug dealers. He is accused of crimes he didn’t commit. Ready to do what it takes to survive, Pablo ironically embraces the very drug trade that threatened his life in the first place. Who is he? What is he really capable of? The question of identity is at the heart of On the Run. More than a contemporary story of survival, it’s a journey of self-discovery.

Pablo’s voice is funny, sometimes mean and merciless. He moves with nightmarish ease from recounting his adventures to recollecting his early life. Not always politically correct, On the Run gives you an insightful, twisted, humorous, and often disturbing view of conflicting worlds and beliefs: North and Latin America; black, brown, and white; rich and poor; rational and esoteric – and shows how they mix, match, and clash.


THE GAMES (2013, 2021)
The Games is a humorous but dark, even mean, political thriller. This mother of all conspiracies starts slow but the action accelerates quickly. Good guys don’t win in the end because there are none. It’s a battle of evil against evil involving environmental protection organizations operating extortion rackets; terrorism without a cause; secret services running amok; global television networks manipulating the news; politicians and profiteers hijacking major international sport events; etc.

More than just humor and action in an international setting, this thriller exposes a dark side of our information age and reveals a serious political threat to our democracies: conspiracies to use information, communication, and storytelling to establish power structures not accountable to anyone. Power without accountability undermines the principle of representative government by the people and for the people. Therefore, the relevant question in The Games is not “who did it and why” but “what if these things come to pass.”
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