Roberto Frota

Claudia and Antonio have been married for 15 years. After so many years of marriage they have lost track of each other. One night, after a strong argument, the unusual alignment of the planets Venus, Earth and Mars causes a magical transformation: Antonio's soul is trapped in the body of Claudia and Claudia's in Antonio's body.

The methodical day-to-day activity of a young autistic boy changes drastically when he sees a girl passing by riding a bike.

Claudio and Helena are on the verge of breaking up, until the couple experiences another strange phenomenon that looks to help them understand one another more.

Laura goes to Buenos Aires and falls for the photographer Guilherme. When she returns to Brazil, her homeland, she discovers Guilherme is actually her fiancé's best friend.

The publicist Claudio and the housewife and choral teacher Helena have been married for many years, but they do not understand and respect the feelings and view point of the partner. Claudio sees Helena as a shopper and "little teacher of a choral" and Helena sees Claudio as an insensitive and rough man. On the night before the fiftieth anniversary of Claudio, they changed places with each other.

Young man, of Portuguese nobility ascendancy, starts working in a rubber plantation in the Amazon, in 1912, and falls in love with pretty Yayá, a married woman.

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.