Leovegildo Cordeiro

Severino do Quixadá (Renato Aragão), a humble northeastern shepherd of goats, rescues Captain Virgulano or simply Captain (Nelson Xavier) and his band of cangaceiros of an ambush armed by the lieutenant Zé Bezerra (Jose Dumont), its eternal persecutor. Captain escapes taking with him the mysterious box that he removed from the interior of the assaulted train in the city of Cajarana. Seeking to escape the shooting, Severino ends up finding himself in the cangaceiros' camp, along with the mishap friends Mussum and Zacarias who, taking advantage of the confusion, fled the chain.

The fictional encounter in Rio de Janeiro, Brazil (in the 30s) between popular songwriter Lamartine Babo and inconoclast poet and playwright Oswald de Andrade.

A public relations man is invited to guide an American millionaire during his stay in Rio de Janeiro. He gets involved in the most bizarre situations, from orgiastic mega-parties to confrontations with the police, meetings with drug dealers and movie stars, facing corruption and even murder.

Nilo Barrão steals a car from the telephone company and robs the mansion of Mara, the wife of an industrialist on vacation. A nymphomaniac, she demands that Nilo rapes her, but he only partially satisfies her wishes, as he prefers to plan physical violence against Paula, a transvestite who lives in the same house, with Mara's help. The arrival of a nearsighted enumerator interrupts, for a moment, the sadomasochistic game. Teresinha, Mara's adoptive niece, upon returning from school, is de-virginized, with her consent, by Nilo. Paula, suddenly transformed into a sorceress, decides to take revenge.

Nilo Barrão steals a car from the telephone company and robs the mansion of Mara, the wife of an industrialist on vacation. A nymphomaniac, she demands that Nilo rapes her, but he only partially satisfies her wishes, as he prefers to plan physical violence against Paula, a transvestite who lives in the same house, with Mara's help. The arrival of a nearsighted enumerator interrupts, for a moment, the sadomasochistic game. Teresinha, Mara's adoptive niece, upon returning from school, is de-virginized, with her consent, by Nilo. Paula, suddenly transformed into a sorceress, decides to take revenge.

Eduardo is a prosperous publicist from Rio de Janeiro, married to Sandra, but feeling sexually impotent, he seeks out a famous psychoanalyst. In an attempt to discover the source of the problem, they go to Eduardo's country house and find his wife's cousin, one of his lovers. A problem arises and Eduardo returns to town, but a storm prevents him from traveling and he returns home, surprising the doctor with his wife in bed.

An essay film on the editing of erotic movies.

Rio de Janeiro police investigator Galvão is pursuing two trails, one professional and one personal. While he tracts a serial killer of taxi-drivers, he also seeks his estranged daughter, Sandra, who he had thrown out of the family home when she adopted a promiscuous teenage lifestyle. Lives intersect when the serial killer, Toninho, a young man of unsavoury connections, befriends Sandra, now an exotic dancer and prostitute living and working in the seamy underside of late 1970s Rio.

Solitary young man, dominated by his mother, lives in a daydream. He buys a toy gun and impersonates a crime book personage.

A band of criminals attempt to capture King Mong, a giant gorilla who lives in the jungle, where a tribe worships him as a god. The criminals offer Costinha, the king of the jungle, as a gift to please the god. A mess ensues and all of the inhabitants of the jungle end up in a Brazilian circus. A parody of the 1976 King Kong remake.

Tonho Tiê really likes living free, playing capoeira and drinking. During Carnival he meets Zulmira, a beautiful woman. On Ash Wednesday, the day of Iansã and Xangô, they pledge love and projects for many children. But time passes and Tonho returns to being the womanizer he had always been. Zulmira, daughter of Iansã, cannot stand Tonho's brazenness, and asks her saint-mother to wash her honor with blood. An Exu is invoked, who in the form of a woman, must make Tonho suffer and pay for his sins. Iaba is her name. Tonho's life starts to get complicated. To meet Iaba's needs, Tonho buys dresses, perfumes and jewelry. But the pomba-gira is not content. She wants to make a worker out of Tonho. No longer supporting Iaba's demands, Tonho decides to look for a terreiro to unload. He receives strength from his orixá, Xangô, and starts a quest to get rid of Iaba's clutches.

Cropped hair, a rosemary branch behind the ear, yellow shirt of shiny satin, he's behind the wheel of his car when passing by a woman who walks by the roadside. Strongly painted lips, printed dress with round skirt and red shoes matching the color of the lipstick, she catches his attention. He gives her a ride, the two of them stare in silence for a few moments. They introduce themselves to one another and between the two establishes an absurd dialogue and full of metaphors. And they are driving around in corners of Rio de Janeiro, to the sound of Noel Rosa and Lamartine Babo. Eva and Antena, she a seer, he, an assassin on the run, initiate an unusual case of love, a marginal love, where boredom often gives way to tragedy, creating the agony of a holiday spent in an abyss.

A gang robs a factory in the State of Rio de Janeiro taking 500 million cruzeiros. In the shooting, several bandits and police are killed. The police manage to arrest some criminals involved in the robbery but do not recover the money. The mystery grows with the occurrence of some deaths clearly related to the robbery.

In Petrópolis, sex maniac Severino Barba de Bode flees the forensic asylum, leaving the city in an uproar.

In Petrópolis, sex maniac Severino Barba de Bode flees the forensic asylum, leaving the city in an uproar.

El director logra una caricatura aguda de la condición humana y su satirización, provocando risas espontáneas cuándo se detiene en los absurdos del racismo, la personalidad de los indios y el modo en que las distintas clases sociales se devoran entre sí. La película se inspira en una famosa novela de Mario de Andrade, fundador del "Movimiento Literario Modernista" de los años 20 y narra la historia y la metamorfosis de Macunaíma, el héroe perezoso y sin ningún carácter, que nace negro en el interior de Brasil. Emigra con sus hermanos hacia la gran ciudad en busca de un amuleto de la suerte, y en el camino se vuelve blanco. En la ciudad entablará una relación con una guerrillera urbana y un magnate capitalista.

Cowboy escaping from the drought in the Northeast Brazil meets some officers led by a cruel lieutenant, whose main objective was to catch organized outlaws and invade the small town of Juazeiro. They arrest and torture him, hoping he would tell them the whereabouts of Padre Cícero, a prominent religious leader of the place. But he manages to escape and arrives in Juazeiro. The police invade the city and arrest the believers who were celebrating a party for Padre Cícero.