Fernando Peixoto

A docufiction film about the fall of Virgulino Ferreira da Silva, widely known as Lampião – the mythical bandit leader from the Brazilian northeast who fought the local power and put his name in history.

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.

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.

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.

Rui arrives in a small town looking for his father, a prospector. Before that, he gets involved with Maria, who is facing problems in the family. Maria's stepfather is the head of a gang and will go to any lengths to prevent Rui from finding his father.

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

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.”

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.

Paulo is a rich lawyer who has a happy and comfortable family life, with his kid and very loyal to his wife. But when he finds out that the woman is cheating on him with his business partner and best friend, he decides to execute a perfect plan that involves murdering both and easily getting away with murder. However, Paulo's plans are about to be ruined due to some unpredictable factors involving powerful people, plenty of money, the kidnap of his son and a tenacious inspector following his steps.

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.

The story of a fakir who works in a decadent circus. He and his colleagues do weirder numbers each day to attract audience, and warrant their survival. The numbers resemble a horror-show and they get marginalized. Through fable and allegory, reality turns stronger and stronger, and more absurd.

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.