Vanja Orico

After an extended period directing original screenplays, dos Santos returned to the creative engagement with literature that was the wellspring of his early masterpieces, offering a combinatory adaptation of five stories by the renowned Brazilian novelist João Guimarães Rosa. Openly embracing a mode of magical realism, dos Santos' celebrated film tells the story of a farming family defined by the absence of its father who abruptly abandoned his wife and children, sailing away down the river, including his son who continues to communicate with his father, speaking daily to him from the river bank. While offering an evocative vision of rural Brazil as a timeless land of mystery and solemnity, The Third Bank of the River is also bitingly satiric in the remarkable depiction of religious belief when the family moves to the city and its youngest member, a mesmerizing little girl, is revealed to be a kind of saint, capable of miraculous acts. -Harvard Film Archive

According to an Amazonian legend, every month, during the full moon, a Brazilian fishing village receives a mysterious guest: the Boto, who transforms into a human to seduce and be loved by women and hated by men. One of her conquests is the daughter of a fisherman, who has a son with the Boto. He constantly reappears to seduce her, and even when she marries, he continues to look for her. This provokes the ire of the husband, who wants to kill him anyway.

According to an Amazonian legend, every month, during the full moon, a Brazilian fishing village receives a mysterious guest: the Boto, who transforms into a human to seduce and be loved by women and hated by men. One of her conquests is the daughter of a fisherman, who has a son with the Boto. He constantly reappears to seduce her, and even when she marries, he continues to look for her. This provokes the ire of the husband, who wants to kill him anyway.

About English photographer Chick Fowle. Statements by Anselmo Duarte, Leonardo Vilar, Marlene França, Vanja Orico. A film about directors, actors and teams that Chick Fowle worked and works with, also showing the possibility of renewal that Brazilian cinema can and must have.

The life of Fernão Dias, a 17th century Brazilian frontiersman known as "the Emerald Hunter".

Friends Severina and Maria José struggle to survive in a suburb of Rio de Janeiro. The first is a widow who sells flowers and the second has a lover who does little to help with expenses. Their children sell peanuts during the day. One day, the children get lost and are found again at Jaks' house, who offers to sell Severina certain suspicious merchandise, disguised among the roses.

Friends Severina and Maria José struggle to survive in a suburb of Rio de Janeiro. The first is a widow who sells flowers and the second has a lover who does little to help with expenses. Their children sell peanuts during the day. One day, the children get lost and are found again at Jaks' house, who offers to sell Severina certain suspicious merchandise, disguised among the roses.

Friends Severina and Maria José struggle to survive in a suburb of Rio de Janeiro. The first is a widow who sells flowers and the second has a lover who does little to help with expenses. Their children sell peanuts during the day. One day, the children get lost and are found again at Jaks' house, who offers to sell Severina certain suspicious merchandise, disguised among the roses.

Friends Severina and Maria José struggle to survive in a suburb of Rio de Janeiro. The first is a widow who sells flowers and the second has a lover who does little to help with expenses. Their children sell peanuts during the day. One day, the children get lost and are found again at Jaks' house, who offers to sell Severina certain suspicious merchandise, disguised among the roses.

The story of how D. Pedro I proclaimed the Brazilian independence on September 7th, 1822, and rose from prince of Portugal to first emperor of Brazil.

A pastor and a priest compete for the religious leadership of the population of a small town. When the pastor tries to prevent his sister's involvement with the sacristan, he accidentally starts the rumor that the church houses a miraculous statue of St. Francis.

The publicist Henri Michelin is looking for a new star for the review of Eden, a music hall led by Bendix.

Фильм посвящается пионерам французской авиапочты, а так же всем тем героям, которые в пустыне и джунглях, превозмогая болезни и лишения, борясь каждый день с одиночеством и смертью, прокладывают невидимые пути, связывающие весь мир.

В 1954-1956 гг. по просьбе Всемирной демократической федерации женщин было снято пять короткометражек для художественно-документального фильма «Роза ветров», в которых были показаны истории из жизни женщин в Бразилии, Китае, Франции, Италии и Советском Союзе. В сборник вошли новеллы: «УТРО КАК ДРУГИЕ» (Um matin comme les autres, Франция, 1956, реж. Янник Беллон); «ДЖОВАННА» (Giovanna, Италия, 1956, реж. Джилло Понтекорво); «АНА» (Ana, Бразилия, 1955, реж. Алекс Виани); «ЧЭНЬ ЛИН» (Chen Ling / 陳玲, Китай, 1956, реж. У Ю-ин); «НАДЕЖДА» (СССР, 1954, реж. Сергей Герасимов и Альберто Кавальканти). Художественным руководителем проекта выступил известный голландский режиссёр-документалист Йорис Ивенс.

A remake of a pre-war French film success, Club de femmes is a seriocomedy centralized in an all-female boarding house. Forced to band together because of a housing shortage, the film's heroines set up camp in a deserted structure, despite the tongue-cluckings of local busybodies and do-gooders. Complications ensue when a huge corporation announces plans to raze the building and erect a factory. Amazingly, the ladies are saved by the very company that wants to evict them.

A group of migrants from the drought areas of Northeastern of Brazil gets a truck "pau-de-arara" trying to move to São Paulo and have a better life. Along their travel, one of the women delivers a baby on the road. The driver, indeed, intends to carry them to the slave-work in the fields of a powerful "colonel", but the brave Ana faces the foreman of the farm and the driver, and the truck follows to the hired final destination.

In the time of the "cangaceiros" in the badlands of the Northeast of Brazil, the cruel Captain Galdino Ferreira and his band abduct the schoolteacher Olívia, expecting to receive a ransom for her. However, one of his men, Teodoro, falls in love and flees with her through the arid backcountry chased by the brigands.

История о провинциальной труппе, кочующей по итальянским местечкам и кое-как перебивающейся с хлеба на воду.