Ricardo Cutz has done sound design, sound editing, and sound mix for over 40 feature films and 300 TV series episodes. In recent years he has worked with director Kleber Mendonça Filho, serving as supervising sound editor and re-recording mixer of Aquarius (which premiered at Cannes in 2016) and as the re-recording mixer of Neighboring Sounds (2012). Earlier in his career, he worked with director Eduardo Coutinho as the sound editor of the documentary Edifício Master (2002). Cutz is the founder of 106db Studios in Rio de Janeiro.

Felipe Lacerda has edited over 40 feature films spanning a variety of genres and styles. He co-directed and edited the documentary Bus 174 (2002), which screened at festivals worldwide and won many awards, including an Emmy. He edited Central Station (1998), an Oscar-nominated Brazilian classic. He also edited Nelson Freire (which he co-wrote), Secrets of the Tribe, Garapa, Grey City, and Foreign Land. Lacerda has worked with Walter Salles, José Padilha, Daniela Thomas, Daniel Filho, João Moreira Salles, Pedro Peirano, and many other directors.

Luelane Corrêa has worked on acclaimed feature films while also producing and directing her own award-winning short films. Corrêa has collaborated extensively with renowned Brazilian director Nelson Pereira dos Santos – she served as assistant director of Memórias do Cárcere (1984) and Jubiabá (1986), editor and assistant director of A Terceira Margem do Rio (1994), and editor of Cinema de Lágrimas (1995) and A Música Segundo Tom Jobim (2012). Her short film Como se Morre no Cinema (2002) won the Cinema Brazil Grand Prize.

Marlom Meirelles has produced and directed several award-winning films. His short film The Bricked Girl (A Emparedada da Rua Nova) was screened at Cannes and other international film festivals. Meirelles won a script competition with a project entitled Among Women (Entre Mulheres, 2012), a documentary on women’s rights and gender. In 2015 he produced and directed the short film Button Eyes (Olhos de Botão), a fictional suspense/thriller set near his hometown in the countryside of Pernambuco, Brazil.

Ana Paula Kojima Hirano spent two years in Brazil and one year in Japan during pre-production and production of One Day We Arrived in Japan. Hirano earned her undergraduate degree in Economics from the University of São Paulo, where she researched global labor market transformations and also studied visual anthropology and cinema. She studied at Sophia University in Tokyo on a Japanese Government Scholarship, and she earned a Ph.D. in Luso-Brazilian Literature and Film & Visual Studies from Harvard University.

Aaron Litvin spent 30 months in Brazil and 30 months in Japan during pre-production and production of One Day We Arrived in Japan. Litvin graduated from Harvard College with a degree in Latin American Studies, after which he earned a Master’s in Sociology from the University of São Paulo and a Ph.D. in Luso-Brazilian Literature from Harvard University. He was a Fulbright Scholar in Brazil and a Japanese Government Research Scholar at Sophia University in Tokyo.