William is a middle-aged writer who lives alone in a small, untidy house and can't settle down doing what he loves. Confused and distressed, he flirts with death. With the rope around his neck, about to jump off a chair, the man looks around at his house and sees little “magical” objects that remind him of his past and passions, thus making a decision.
In six decades, Teatro Oficina has done more than revolutionize theatrical language in the country: the aesthetic influence of José Celso Martinez Corrêa's company extends from Tropicalism to the renewal of Brazilian audiovisual languages from the 1960s onwards. The film revisits a story that it involves personalities such as Caetano Veloso, Glauber Rocha, Lina Bo Bardi, Chico Buarque and Zé do Caixão, brings together scenic art, ecology, architecture and sexuality, and mixes art and life in the search for a Brazilian based language.
From his origins as a poet to his success as a singer and composer, Arnaldo Antunes revisits the most remarkable moments of his career.
A film director faces a complex situation in the production of his new film: Laerte, the protagonist of the story, begins to renegade her former characters, the Pirates of the Tietê. Lost in this situation and determined to be faithful to his whims after seeing the approach of death, the director decides to tell his drama mixing his persona with the story, creating a chaotic labyrinth between fiction and real life.
A portrait of the evolution of theater in the 20th century and a deep reflection on the art of acting through the career of Paulo Autran (1922-2007), one of the greatest actors in Brazil.
Develops from the life, work and memory of Gianfrancesco Guarnieri, one of the most important names in the history of Brazilian theater, to examine the courses of dramaturgy and politics in the last decades. Guarnieri, besides being a TV star, was also seen as the synthesis of the politically engaged artist in Brazil. His sons, also actors, saw a separation between art, work, and politics. As he investigates the portraits of two generations, grandson and director Francisco aims to understand the place of his own generation in history, in art and the world as a whole.
Corações Feridos is a Brazilian telenovela that aired on SBT from January 16 to May 23, 2012. It is a remake of the Mexican telenovela La Mentira written and adapted by Íris Abravanel, based on the original by Caridad Bravo Adams and directed by Del Rangel.
"The Baron" wanted to commit the perfect heist involving 3 tons of money and no violence. For this he would need the right people willing to get 1 million dollars to take part in this job. Based on true events, in 2005, 168,000,000 Brazilian Real (almost 80,000,000 US dollars) were stolen from a Brazilian Central Bank (Federal Reserve), making it the biggest peace-time robbery in history. It was perhaps the most audacious bank heist ever.
This film documents in depth the life and artistic trajectory of the musician and poet Itamar Assumpção. He was one of the pillars of a moment of Brazilian popular music that was conventionally called "Vanguarda Paulista". Starting from extensive research which resulted in more than 250h of images and a dive into the personal universe of this incredible artist, Itamar comes up with a poetic, intuitive plot where facts and testimonies speak louder than preconceived ideas.
Raimundo, film producer, asks financial aid to his friend and producer J.C. to evaluate his own project. J.C. conditions his support to a change in Raimundo's style. Raimundo will have to make a movie aimed to the general audience and following the old producer's book: violence, sex, non-actors and slum. Raimundo does what he says, but an unexpected fact threatens the film's conclusion.
Antônio Abujamra, OMC (Ourinhos, September 15, 1932 – São Paulo, April 28, 2015) was an award-winning theater and television director, actor and Brazilian presenter, being one of the first to introduce the theatrical methods of Bertolt Brecht and Roger Planchon on Brazilian stages. He was known for his irreverence, his performances and his acidic and critical humor in relation to social taboos.
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