Maria do Carmo Soares

Macabéa has just moved to the big city after her aunt, who raised her, died. She gets a job as a typist and moves into a boarding house with three other women. In her spare time, she listens to a radio station called Time; on Sundays, she likes to ride the metro. Then she meets Olímpico, a northeasterner like herself, who has dreams of becoming a congressman.

To fulfill his mother’s dying wish and avoid being removed from her will, an inflexible bachelor hires an actress to play his fiancée.

Edgard works as a subordinate in the company of millionaire Werneck and is in love with Ritinha, a simple woman who works as a teacher to support her mother and her three sisters. One day, Peixoto, Werneck's son-in-law, makes him a proposal to marry Maria, the boss's daughter. The reason is that Maria was abused and now is being forced to marry by her family. Edgard hesitates first but accepts the offer. From then on he enters into a great doubt: should he deposit the check and marry Maria or stay with Ritinha, his great love?

Neide recently separated from her husband and wants to make the most of her single life. Hindered by her youngest son, she decides to set him up with one of her employees by hook or by crook

“Nobody Leaves Alive” by André Ristum is shot in beautiful but also distancing black and white. Looking at the Venice line-up, this seems to be a trend this year among the maestros of cinema. The film is inspired by true events that took place in the last century in the “Colonia” hospital in Brazil. Whoever didn’t fit the standards of society, or their family’s perception of it, was locked away, tortured, and killed. There were altogether more than 60,000 victims. Hope dies last, and some of the inmates don’t give up the fight. We’re reminded of film classics such as “One Flew Over the Cookoo’s Nest” or “Alcatraz”.