Leonidas Bayer

A plane crashes in the Amazon jungle, and its passengers must battle their way through cannibals, slave traders, wild animals and murderous piranha fish to safety.

As soon as his boss discovers his betrayal, Luciano must flee, abandoning his life in the mafia and crime behind him. His options are limited, and the longer he waits, the greater the chances of being captured. However, when Luciano encounters a prostitute with a serious illness, he finds shelter in her home and begins to devise a plan to save his own life.

Heitor and Matilde are two siblings who decide to murder their rich father in order to quickly inherit his wealth. They get the killing done, aided by Matilde's boyfriend Henrique, but after a while the three of them begin to recieve mysterious notes which suggest that their secret is in danger.

A group of armed soldiers is sent to the Northeast of Brazil in an attempt to stop a famine-struck population from invading and stealing a food deposit in the dry backlands. While the alienation and insanity of people driven to hallucination by their latent hunger is conducted by the predictions of a religious figure, a truck driver observes the situation and remains torn between his friendship with the soldiers and his revolt against the lack of government action in fighting the misery that lingers over the region.

Based on the true events that took place in the 70s, in Rio de Janeiro. The body of beautiful girl Cláudia Lessin Rodrigues, actress Márcia Rodrigues's sister, was found in the seashore. After Police investigation, it was found she had been murdered on a party by a rich industrialist's son and his socialite hairdresser buddy, after much sex, alcohol and drugs, specially Mandrax (methaqualone). She'd probably resisted being raped and the killers threw away the body in the water. One of the guys tried to escape flying to Switzerland.

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.

Foreign agents from an unidentified nation clandestinely install radio and TV antennas in Rio de Janeiro devices that emit subliminal waves that alter the perception of the population. They aim to transform the people into an aggressive and imbecile mass, leading the country to chaos, allowing the government to be taken to usurp Brazil's natural wealth. A journalist, Carlos, accompanied by chemist Laura Leal, begins to investigate a series of facts and discovers those responsible for the disturbances.