Chão de Fábrica (2021)

In Lunch Break, we witness the novelty of a rediscovered tradition: the formation of workers' class consciousness amid a clash which intersects shared sociability and the fissures imposed by a myriad of individual stories. Nina Kopko resumes the Brechtian tradition of modern Brazilian cinema, in her penchant for frontality and by bringing political discourse to the proscenium, while placing itself in a rare constellation, alongside films such as "Trabalhadoras metalúrgicas" e "Mariana, Paraná e Greve", which localize the female experience within the factory world.