Lana and Margarida: two women whose paths cross in the small town of Jaguaribe, in the interior of a misogynistic and oppressive Brazil. One murderer, another police officer – both living existences crossed by an endless cycle of violence and contempt that seeks to silence and exterminate any sign of female independence. In a country where justice has always been on the side, they will discover that revenge does not pay – but neither does following the law.
In the hinterland of Ceará, an indomitable young woman will encounter the crime of which she is a victim in order to avenge her sister’s death and prove her autonomy as a woman. On her journey, Lana Jaguaribe will meet Margarida, a rigid and fair police officer, but who also suffers from the violence of a macho and intolerant environment. As Lana is led to decide on a bloody and criminal trajectory, her life goes on a direct collision course with that of Margarida. This is a story in which violence is not only a catalyst, but a permanent fact of the protagonist’s reality. LANA JAGUARIBE is a bloody story of revenge and the search for redemption capable of reaching the contemporary spectator like a punch in the stomach. This is a film that seduces by the imminent danger of the landscape of the interior of Ceará and the sensuality that Lana is learning to handle with her fish in her hand. Lana is a justice woman who subverts a whole historical-narrative tradition based on the figure of the male savior. Lana is not Lampião. She is a woman and she kills out of revenge for the violence suffered, generating a trail of fear among men. The inversion of the social structure of gender experienced today. With sweat and the power of a funk dance, LANA JAGUARIBE is a more dangerous and pop “Suely Sky”, with blood, candy, gum, flowers and a velvety voice. It is a film that combines Dario Argento, Russ Meyer and Harmony Corinne in the interior of Ceará to the sound of a corny re-recording of “Like a Virgin”.