Sérgio Dias

Documentary about amazing Brazilian musician Rogério Duprat, main orchestrator of Tropicália, his rehearsals with Gal Costa, Os Mutantes, Gilberto Gil and Caetano Veloso. There's also the first performance of his 1958 "5 Pieces for a Solo Cello" and pieces of the only recording of "Organismo", serial work inspired by a Décio Pignatari's poem.

Set against the turbulent atmosphere of the 1960s, Tropicália is a feature length documentary exploring the Brazilian artistic movement known as Tropicália, and the struggle its artists endured to protect their right to freely express revolutionary thought against the traditional Brazilian music of that time.

Loki brings the trajectory of Arnaldo Baptista from childhood, passing through the most successful phase as leader of the Mutantes, marriage to singer Rita Lee and then separation. He also goes through the depression that devastated his life after the group ended and that led him to attempt suicide, his solo career, rapprochement with his brother and member of the Mutantes, Sérgio Dias, culminating in the band's return in 2006.

A mutant prank improvised by Arnaldo Baptista, Sérgio Dias, and Rita Lee. Os Mutantes on a unique day in the streets of São Paulo.

O Som Alucinante

Maldito Popular Brasileiro: Arnaldo Dias Baptista

Os Mutantes: Teatro Villaret, Lisboa, Portugal, 1969

Sotaque Elétrico

If you thought TV shows in which audiences and juries judge musical acts were a relatively new phenomenon, you'd better think again. In the 1970s, such "festivals" were incredibly popular in Brazil. They were recorded before a live studio audience, and usually featured a number of elimination rounds. They also formed the springboard for the career of many a big-name star, such as Chico Buarque, Caetano Veloso, Roberto Carlos and Gilberto Gil. Appearing on such a program was no cakewalk, however: audiences could be as wild in their condemnation as in their appreciation of an artist. Extensive archive footage (including performances and behind-the-scenes interviews) from a turbulent final of the Festival of Brazilian Popular Music one evening in 1967 paints a fascinating picture, not only of the transformation of Brazilian music into real "festival" music, but also of a society starting to buck against the yoke of military rule.

Mixto Quente