Harildo Déda

Tiny is a girl who takes care of her pet carnivorous plant with lots of love and fresh ants. On the eve of her 7th birthday, Tiny wants the plant to call him by her name, but the plant demands more and more ants. The ants, tired of being eaten, work out a plan that involves poetry, umbrellas and a time machine.

Lúcio comes back home drunk and tired after a party late into the night and has a fight with his wife, Terezinha. Then, a butler shows up at their door to inform them Terezinha's mother has died.

Dubbings, stunts, remixes, aesthetic covers. Diffuse, decentralized, peripheral, tipsy. Theme: an extemporaneous choreographic chanchada. Content: artistic nudity, discrete zoophilia and dance.

On a same night, five people from a small country town have the same nightmare. Upon the arrival of a pilgrim, the village is taken off its mediocre routine and the characters are thrown on the vortex of an uncommon situation. Each one’s truth will come to light, releasing them of the wicked hypocrisies, fears and diseases, compelling them to take control of their fate and rewrite their life.

The old servant and chronicler Dom Sabas tells how his desolate South American town is the scene of a ruthless power struggle. The landowning Assis family, reduced to a widow and son, tries to hold out against the young, despotic mayor. No less effective then actions are anonymous rumors and accusations, which often stir the inhabitants' moves.

거부할 수 없는 매력의 섹시한 그녀, 까리나 섹시하고 아름다운 외모를 밑천 삼아 스트립쇼를 하며 생활을 이어나가던 까리나는 새로운 인생을 찾기 위해 정든 집과 친구 곁을 떠나기로 결심한다. 잠시 쉬며 차편을 알아볼 겸 들른 바에서 자신이 타야 할 차는 이미 떠나고 없다는 바텐더. 상심하던 까리나에게 날디노와 데코라는 청년이 나타나 자신의 보트를 함께 타고 가자는 제안을 한다. 물론 은밀한 거래와 함께.

글을 모르는 사람들을 대신해 편지를 써주는 것으로 생계를 이어가는 초로의 전직 여교사 도라는 어느 날 안나와 그 아들의 부탁을 받는다. 아버지에게 보낼 편지를 써달라는 부탁을 받고 도라가 잠시 역을 나선 순간 안나가 그만 차에 치여 사망한다. 도라는 갑자기 엄마를 잃은 아이를 어쩌지 못해 아이의 아버지를 찾기 위한 여행을 떠난다. 베를린영화제에서 최우수 작품상과 여우주연상을 받은 작품으로, 월터 살레스는 도라와 아이의 여정을 통해 브라질의 현실을 보여준다. 원주민들의 모습, 순례와 축제, 황량하고 마른 땅과 한없이 뻗은 신작로 등 브라질의 풍광을 배경으로 영화는 도라와 아이 사이에 싹트는 인간에 대한 사랑을 전달한다. 살레스는 반문맹인 여성 장기수와 저명한 조각가 사이에 오랜 세월 주고받은 편지를 기초로 만든 자신의 다큐멘터리 <또다른 어떤 곳의 삶>에서 <중앙역>의 아이디어를 떠올렸고 아이 역을 맡은 배우는 리우 공항에서 구두닦이를 하던 소년이었다.

Just when her family starts believing that she is dead, and that they can expect a rich heritage, Tieta returns from São Paulo to her native village in Bahia, which she had been forced to leave long ago because of some involvement with a goat herd. Believed to be fabulously rich - and nobody knows how - she brings to the great disappointment of her family a young step-daughter and heir. With the arrival of Tieta turmoil enters into the life of her family and their fellow villagers. Most particularly into the life of her nephew - promised to the Church - and the young aspiring mayor.

João da Silva Brown, a resident of Salvador, has always been a fan of comics, movies and adventure series and superheroes. Once he learns about a course for detectives and decides to attend it. With his private detective degree, he sets up an office and places an ad in the newspaper. Now wearing a cape and hat, he waits in vain for customers.

In the beginning of the 20th Century, in the Northeast of Brazil, one of the first Brazilian industrialists is persecuted because he refuses to sell his business to a British company.

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.

This Brazilian film is set during the period of its initial colonial discovery and settlement. The title refers to a word the native peoples used for the coastal lands: "pindorama," or "place of the small trees." A ponderous and grandiose film, it was roundly booed when it was aired at the 1971 Cannes Film Festival.