Fernando Peixoto

In 1910, in the State of Paraíba, Brazil, a man is expelled from his own land by the ruthless colonel who owns the sugar mill. He asks some outlaws to help him retrieve his land.

Cristais de Sangue

A series of murders begins to haunt Cordilheira, a small town near São Paulo, Brazil. The investigations show there is a love triangle involved.

Otavio is an idealistic union leader trying to organize workers at a factory to resist the company's exploitative practices. His son, Tião, one of the employees, is more of a realist and doesn't want to risk losing his job by striking. This clash of perspectives puts the father and son at odds. Fortunately, Tião's mother, Romana, is on hand to act as a moderator between the two opinionated men.

Based on the novel "Totônio Pacheco", written by João Alphonsus. At the time of the decadence of the great farms of Minas Gerais, Totônio is a symbol of the golden age of state farms: old and accustomed to having all his wills obeyed. However, after moving to his son's home because of his wife's death and the resulting loneliness, he realizes that he has lost his job as a boss and is struggling to regain his prestige by moving to a brothel.

Symbolic film from the Underground Movement of Brazilian Cinema (Cinema Marginal) about a woman, three men and some apes. In the director's own words: “a fable where realism and logic have no place, and in which sex is a translation of all the tortures, circumstances and violent actions.”

Poor and beautiful girl is hired by a sales promoter to advertise a new brand of soap. The success is immediate, but the need for a new face hinders her way to stardom.

Vianinha

An accident at a construction site, resulting in one death, sets one worker off on a struggle for justice that exposes the mechanisms of exploitation and the class relations of a country that had undergone one decade of fast-paced ‘conservative modernisation’ at the hands of the military. As a sort of sequel to the classic The Guns (1964), following the fate of those characters as they move from enforcers of exploitation to exploited, it offers more than a snapshot of the period: the correspondent time lapses in fiction and reality capture the passage of a chunk of Brazilian history between the two films, and, therefore, also the transformations in cinematographic approaches to the social and political between the two moments. Equally daring in content and form, and in the originality of the adequacy of one to the other, it won the Silver Bear at Berlin.

Correspondência

Fantasy comedy about Brazilian writer Oswald de Andrade, one of the most important icons of Modernism in Brazil. In the film, Oswald is played by two actors: Ítala Nandi, as his feminine anima, and Flávio Galvão, as the masculine half.

Senhora dos Afogados

Sangria