Leina Krespi

Saul and Mônica return to São Paulo after three years and find his family's colonial mansion abandoned, inhabited only by his old nanny, Bá, and his brother, Domício.

The fairy tale story of Maria da Graça, a small town girl with big time dreams of becoming a singer, who moves to Rio de Janeiro to pursue her ambitions.

A man and a woman meet in the middle of a newly inaugurated Brasília. In search of a love affair, they settle in his residence, where they live an intimate drama marked by intellectual, moral and erotic ghosts.

A film that records the rehearsals of a Brazilian theatre troupe directed by Victor Garcia, and then the conflicts that break out as they tour Iran and France with a performance of Calderon's autos sacramentales. A problem with a scenery prop sparks a crisis in the group and the film chronicles this disaster.

At Pedrinho's request, Dona Benta begins to tell the legend of the Minotaur. In the middle of the story, a strange visitor appears on the farm and takes Aunt Natácia to some unknown place. Upon discovering that she was kidnapped by the Minotaur, the whole gang goes on an adventure to try to save Aunt Nastácia. And that's when the fun begins.

Fortune takes four human beings to the last frontier of passion. There, where love becomes almost inhuman and divine. As if he was a comet, Rafael, the traveler, appears at the party for the cities patron saint, in a small town in the interior of Minas Gerais. He is the one who brings passion and crime, vanishing afterwards, leaving a poetic feeling in the air, which is always deadly to the ones who stay. Mrs. Ana de Lara, the proud rich widow, and Missy, still a child, whose beauty and innocence are like the Tiê-Sangue, a red bird, are the travelers victims. There is also Master Juca do Vale, a criminal, whose passion turns him incredibly human, in this story of love, death, forgiveness and resurrection.

Joana is a sophisticated, beautiful woman, so she has a choice of lovers, and destinies. She will let down Pierre, the French consul at São Paulo, and with him the frivolity of tea-parties and comfort. Her wild inner-soul will develop into the wild forest surroundings of a landlord's farmhouse. To the extent she will defend her land like a 19th century owner - of lands and men alike.

Clumsy old lady Dina Rocha lives with her son Marcelo. After a series of incidents at home, she moves to her house in Santa Teresa. She meets her friend Nonô and she pays a visit to her old friend. Her sons do not know where she is and they go to the hospitals and morgues. Coincidently there is the body of an old lady smashed by a truck and they believe that she is their mother. Meanwhile two smalltime thieves break in Nonô's house and keep the two old ladies locked in the bathroom. During the funeral of Dina Rocha, the dysfunctional families have a quarrel disputing their heritage.

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.

A long time public servant is told by an angel that he will die at midnight of the following day.

A poor man from the North Zone of Rio, head of a family, Roy struggles in every way to survive and accepts a job as a professional laugher on a TV station; Casimiro de Abreu de Sousa lives in a fantasy world in which he imagines himself to be part of high society. His daughter's wedding awakens in Casimiro the desire to achieve everything he has always fantasized about.

Nina, a typical woman of the big city, marries a powerful farmer and goes to live in the countryside of Minas Gerais. There, however, she is faced with a decomposing, decadent family who seems to dislike her.

Quinzinho and João Victor are identical twins separated at birth, unaware of each other's existence. The brothers eventually draw closer, guided by their instincts.

Childhood friends Cidinha and Leda follow opposite paths, but envy the life the other has chosen. Belo's love and custody of their daughter lead them into a competition.

In the tiny poor town of Asa Branca, in the middle of Brazilian Northeast, Roque Santeiro is worshiped as a saint. He was supposedly killed by a bandit, 18 years ago, trying to save the local church. After his disappearance, local leaderships such as landowner Sinhozinho Malta and mayor Florindo, took profit on that to control the humble population. They even make up a widow, Porcina, who should have married Roque secretly before his death. What they don't expect is that Roque is alive, and he's back to, allegedly, "save his people". Now Malta, Florindo, Porcina, and others must hold him down and explain the "truth" to their commoners, in a desperate attempt to save their own bottoms. Meanwhile, mysterious facts surround Asa Branca, such as a Werewolf, a film crew who are trying to shoot a movie about Roque's story, and violent murderers.

Cousins ​​Charlô and Otávio once had a romance, but today they detest each other. However, fate plays a trick on them: they will receive a large inheritance, on the condition that they live together.

Carlão is a taxi driver who experiences a drama of conscience after fleeing bank robbers leave a suitcase with stolen money in his car: he doesn't know whether to hand it over to the police, running the risk of being accused of being an accomplice in the robbery, or whether to use the money to solve his problems.

The cheerful and outgoing Jordana lived alongside Silas for 20 years, helping him become wealthy. Despite this, he abandons her to run away with the opportunistic Carla. After the separation, Jordana faces financial difficulties. She then meets Dona Mena, an eccentric and lonely old woman abandoned by her family. Jordana takes care of Dona Mena and, when she dies, inherits four bronze cupids containing a million dollars. The problem is that the cupids disappear without a trace. The cupids become the subject of a fight between Dona Mena's nephews, Loreta and Carlito. The two are the villains of the story. Jordana, however, ends up falling in love with Carlito. In the final chapters, Jordana manages to recover the cupids and rebuild her life. She has the help of her friend Vieira.

Inspired on Jorge Amado's romance "Tieta do Agreste", the plot is set on the fictional city of Santana do Agreste, at Brazil's northwest, and has as main theme Tieta's life turnarounds. Twenty-five years after being chased out of town by her father Zé Esteves, she returns to her home town seeking revenge against everyone who mistreated her and laugh at her face in the past.

After becoming a widower, businessman Aparício Varela takes over as president of Tecelagem Abdala and decides to win back the great love of his life, Rebeca.

The story follows the lives of Naná and Gegê, a pair of con artists. Gegê is the uncle of Tina Pepper, a Tina Turner fan who dreams of becoming a famous singer.

Santos Dumont's daughter, Marisa Dumont, known as Zazá, flies over the Eiffel Tower in a replica of the 14 Bis. During one of her flights, she decides to find guardian angels to protect her seven children.

The telenovela tells the story of Francisca Moura Imperial, a wealthy businesswoman, and her two sons: Jordão and Tiago, who show little interest in the family business. Jordão is the product of a whirlwind romance in Francisca's youth, while Tiago was born from her marriage to Roberto, a seductive man who moves in high society but is penniless. Francisca is preoccupied with her sons but cannot interfere in their lives as much as she would like. Eccentric and full of outlandish ideas, she decides to undergo plastic surgery, which makes her look 20 years younger, believing that this will bring her closer to Jordão and Tiago. Francisca's greatest concern is that at least one of her sons will marry and give her a grandchild, thus ensuring the continuation of the family name.

Seven high school friends reunite after 20 years. Memories of the past and coincidences of the present reveal the secrets and affections that bind the women and their families.

Diana, the Angel of Death, assigns an Emissary to retrieve Isabela from Earth. Upon meeting her, however, he becomes enchanted by the young woman and hesitates to take her.

The story begins with the arrival of millionaire Antônio Carlos Volpone in Brazil. After living in Cairo for 18 years, he returns to his homeland for two reasons: first, to clarify the murder of his father-in-law, Dr. Telles, of which he was accused; second, to get closer to his ex-wife Estela, now married to Orlando Aranha. The millionaire also attracts media attention, and reporter Amélia Bicudo decides to investigate his life. To mislead his enemies and move freely, Volpone uses numerous disguises: the executive Anabela Freire, the doctor Nilo Peixe, the industrialist Augusto Melo Sampaio, and the driver André Silva. With the help of his loyal secretary and friend, Mosca, he confronts his main rival, Orlando Aranha, and Renata, Orlando's sister, who holds secrets about the murder of Estela's father.

César, a sugar mill owner in Pernambuco, lives in Rio de Janeiro with his wife Maria Luiza and daughters, Débora and Suzy. One day, tired of his life, he decides to fake his own death and assume another identity. César does this with the help of França, the financial director of the sugar mill – which also belongs to Alaor. César and França stage a car accident, plunging off Avenida Niemeyer in Rio and disappearing into the sea. César leaves Alaor on the verge of bankruptcy and Maria Luiza and the two girls in poverty, completely transforming their lives.

A widower who was anything but traditional for the 1950s, Álvaro has a frank relationship with his daughters and becomes the target of criticism from his sister-in-law Fausta, especially when he meets Marta.

Sabrina is a wealthy young woman who hides her compulsion to steal from her parents – Hilda and Fred – and also conceals the fact that she rents a room at Lola's boarding house in the Rio de Janeiro suburbs, where she pretends to be a modest young woman looking for work. The parallel plots of the story unfold through these two distinct worlds in which Sabrina lives.