Dona Plácida
Free adaptation of Machado de Assis' classic. The narrator is a rich dead man, who tells us about his life and times, making fun of both.
Raquel
A true story that comically depicts the relationship between an ordinary woman and her three husbands, who live in the same house in a poor and arid small village of the Brazilian northeast.
Schizophrenic tramp performs outrageous acts in the streets of Salvador, and in the end tries to fulfill his ultimate dream: to fly over the city, as a superhero would.
Narração
Condessa Zabela
When a prominent U.S. Nobel Laureate arrives in Salvador, Bahia, the city with the largest black population in Brazil, he stirs emotions by championing a long-forgotten local writer named Pedro Archanjo, who believed that humanity would be improved only through miscegenation.
Dinorah, Flor's Friend
Pueblito brasileño Bahia, en los años veinte. La bella Floripides Guimaraes, más conocida como Doña Flor, está casada con el pícaro y mujeriego Valdomiro Santos Guimaraes, alias Vadinho. Si bien su marido es un irresponsable juerguista, Doña Flor se siente compensada con la ardiente vida sexual que le da. Cuando Vadinho muera de un infarto en pleno carnaval, Doña Flor sentirá que su vida (sexual) ha quedado vacía. La solitaria viuda acepta casarse con el respetable y pulcro Dr. Teodoro Madureira, un hombre metódico y responsable. Pero, pese a ser un ciudadano modelo, el nuevo esposo no logra cubrir el vacío pasional dejado por el ardiente Vadinho. Doña Flor reconoce que su nuevo marido nunca le podrá satisfacer en el campo del deseo como su primer marido. Pero, de manera sobrenatural, Doña Flor verá la oportunidad de satisfacer su nostalgia sexual: Vadinho ha regresado al mundo de los vivos, solo visible a los ojos de ella... y dispuesto a saciar los deseos de la apasionada viuda.
The adventures of a gang of thieves and murderers led by violent Caveirinha. A radical disruption proposal from the postulates of the Cinema Novo, a film with a loose narrative structure. Through the actions of a group of outlaws, the director sews in scenes that propose iconoclasm and elation as forms of opposition to the military dictatorship oppression.
In Bahia, in the late '60s, the alienated college student Lula spends his time protesting in the university, but without political orientation, wandering on the streets, smoking grass, trying to be an actor and having sex. Meanwhile, a common young man stalks women on the streets trying to have intercourse with them.
