Ana Carolina (director)  Ana Carolina (born 27 September 1945) is a Brazilian film director and screenwriter. She directed seven films between 1969 and 2003. In 1978, she was a member of the jury at the 28th Berlin International Film Festival. Her 1982 film "Heart and Guts" was screened in the Un Certain Regard section at the 1982 Cannes Film Festival. Ana Carolina Teixeira Soares attended school with the intention of becoming a doctor, but instead changed direction and became a filmmaker. She graduated in 1964 from "University of São Paulo Med School". Several years later she went to a School of Physiotherapy, taking special interest in university politics. She also spent a few of her early years in a Renaissance band called "Musikantiga". She was highly focused in her early years as a filmmaker, as she made 11 documentaries in her first eight years in the business (her first being in 1967, last in 1974). These early documentaries had a heavy focus on workers. Ana Carolina also had interest in the world of labour, as she created several documentaries that revolved around labourers and unions ("Lavra-dor" 1968, "Pantanal" 1971). At the same time, some of these documentaries focused more on artistic practices ("Três Desenhos" 1970, "Monteiro Lobato" 1970). She is better known for her feature films, however. Her earliest works includes a trilogy that consists of films that all speak to social and political conditions in Brazil, her place of birth. They were supported by Embrafilme. Despite the common connection that they all speak to the conditions surrounding her in Brazil, these films all present themselves in very different ways. Her first film released in 1977 was titled "Mar de Rosas", translated into Everything is Fine. The film is shot from a feminist perspective with interpretations open to the viewer. "Mar de Rosas" tells the story of a woman that slits her husband's throat and flees with her child. It provides commentary on patriarchy and feminist discontent. This discontent is not strictly limited to the characters within the fictional landscape and speaks much more broadly to the nation at whole. Her second film, "Das Tripas Caração" (1982) – which translates into With the Heart in the Hands- is an off-beat film that examines sexual interactions as well as homophobia. It depicts a male detective's perverse dreams that include intervention in lesbian relationships and impregnating a female teacher. As described in "Women Film Directors", "Carolina’s work is, in some ways, comparable to Pedro Almodovar's, but Carolina’s use of camp horror is that of a distinctly feminist lens".