David José

Joelle lives on a large estate with her crippled husband, Il conte. Just as he begins to feel he can't match up to his wife's sexual needs, his wife's ex-lover, Charles, is released from prison. Her husband invites him to become a groundskeeper on the estate.

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.

A young woman, a teacher in a countryside school, has affairs with boys and girls.

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

The story of how a quarrel between families set poor farmer Virgulino Ferreira da Silva on the path to become Lampião, the greatest leader of the cangaceiros - bandits who roamed the Northeast of Brazil until the late 1930s.

Based on Erico Verissimo's masterpiece, O Sobrado follows the Terra-Cambará family during the siege imposed to their house by enemies due to political differences. As the siege goes, the family tensions start to show off.

Georges Cazenave, a " politically committed" French TV reporter leads a good life. Besides having a regular mistress in the person of Hélène, he is a ladies man with "a girl in every port". But this comfortable situation is challenged the day he hires Céleste as his housemaid. A Portuguese immigrant, she soon appears to be a Marxist-Leninist activist, engaged in political groups working against the regime of Salazar, the dictator of Portugal. Geoges and Céleste fall in love with each other, which brings adventure in the reporter's hitherto superficial life, upset by a breakup with Hélène, the interference of the French Secret Service and a touch of terrorism.

On Jo's birthday, her mother, and later, her father, discover that she is not a virgin anymore - she is taking pills. The birthday party turns into a complete mess, since Jo's mother can not hold herself and accuses her daughter in front of all guests of not being a child that everyone thought she still was. Jo rebels and leaves the house, and discovers that her boyfriend listened to everything and did not help her. She decides to leave him, and to start her life again. As a woman, now.

Short documentary on workers' movement in Brazil in the 1970s, such as the Movement Against Famine, and the policial repression against demonstrators and activists.

Guilherme, who has the police on his trail for having been involved with a niece of the mayor of his city, runs away with the girl after receiving threats. On the other side is "Papo Amarelo": a bandit from Rio de Janeiro who spends the rest of his problematic life acting in robberies.

In 1952, TV Tupi, Brazil's first television channel, invited psychiatrist Júlio Gouveia and his wife, Russian writer Tatiana Belinky, to develop the network’s children's programming. The couple then asked the sons and daughters of their friends to join the cast of the newly created shows, the most prominent of which was Sítio do Picapau Amarelo. And so, Antonio Silvio, Lia, Lídia, Sérgio, and David José embarked on an unexpected journey that would come to shape the future of Brazilian television. Memories of the Sítio is a trip through the personal recollections of these actors and the story of the first television adaptation of Monteiro Lobato’s work.

The plot unfolds across two distinct worlds: Dr. Cristiano Navarro’s hospital and an impoverished neighborhood on the outskirts of São Paulo. While doctors at the hospital fight to save lives using state-of-the-art medical technology, young Emanuel—living in the neighborhood—demonstrates the ability to perform miraculous, extraordinary healings with just the touch of his hands. Dr. Cristiano is married to Linda, a wealthy, refined woman twenty years his junior. They long for a child but have been unable to conceive. Linda consults Dr. Paula, a renowned gynecologist, but the doctor cannot resolve their issue. Linda then decides to seek help from Emanuel, sparking a series of conflicts with her husband. However, things are far from ideal in Emanuel’s neighborhood. He possesses paranormal abilities that sometimes manifest in ways beyond his control. An enigmatic and unpredictable man, Emanuel fears his own powers.

Millionaire Ingrid Von Herbert comes to Brazil to search for her missing son, who was taken from her in Italy by the child's father during World War II. Here, she meets and falls in love with mechanic Fran, but resists this love because she suspects he might be her son. There are other suspicions, but this mystery persists throughout the plot. An unusual event changes the course of the story: Fran's father, Sandro, has his car sabotaged and dies in an accident.

Rosa Baiana is a strong and courageous woman, the companion of Edmundo Lua Nova, who abandoned her with seven children to travel the world. Her children, Agenor, Ivan, Bráulio, Walter, Orestes, Cláudia, and Edinho, ended up connecting their lives to oil, working in the oil fields of Bahia, without, however, detaching themselves from their mother, the ultimate authority and final word in the family. Rosa imposes her personal worldview on everyone. The children don't dare contradict her, even when their lives conflict with their mother's standards. Until the day Edmundo Lua Nova returns home after twenty years away.

The irreverent Dulcinéa struggles to keep her revue theater, *Mambembe*, afloat; the building itself belongs to the traditional Maldonado family. The patriarch, Salvador Maldonado—a conservative man—keeps a tight rein on the clan, maintaining control over both the business and his children: Joana, an elegant and snobbish woman who is the staunchest defender of the views held by Pops, as the children call him; Téo, who has always silently submitted to the old man's high-handedness; Walter, dominated by his older sister and his father's favorite; and Lalucha, the youngest, a film student who challenges the status quo and rebels against the family's stuffy conservatism.