Maurício do Valle

Cowboy Riobaldo is attracted to same sex Diadorim, not knowing that "he" is a girl dressed in man's clothes. After Diadorim's father is killed, she swears revenge, being joined by Riobaldo in this mission.

Young women in the Amazon are kidnapped by a ring of devil-worshipers, who plan to sell them as sex slaves. Some of the women escape, but are pursued into the jungle by their captors. The women must band together to turn the tables on their kidnappers.

In a company trading maté, workers are treated as slaves. Some of them try to escape, but those who are caught suffer severe punishments.

In 1925, Gabriela, a poor, uneducated, yet charming woman becomes cook, mistress, and then wife of Nacib, a bar owner in Ilhéus, a small Brazilian coastal town run by the local colonels.

Segment "Prólogo": interviews and scenes with some of the most important filmmakers of the "Boca do Lixo" of São Paulo. Segment "A Badaladíssima dos Trópicos x Os Picaretas do Sexo": shenanigans of a troubled fictional film production. Segment "Amor 69": Actress Maria Vargas is expected to appear nude in a scene, but ultimately refuses to do so.

Wanted for killing his boss, Manuel flees with his wife Rosa to the sertão, the barren landscape of Northern Brazil. Thrust into a primordial violent region, Manuel and Rosa come under the influence and control of a series of frightening figures.

A new incarnation of Cangaceiro bandits, led by Coirana, has risen in the badlands. A blind landowner hires Antônio to wipe out his old nemesis. Yet after besting Coirana and accompanying the dying man to his mountain hideout, Antônio is moved by the plight of the Cangaceiro’s followers. The troubled hitman turns revolutionary, his gun and machete aimed towards his former masters.

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

Eldorado, a fictitious country in America, is sparkling with the internal struggle for political power. In the eye of this social convulsion, the jaded journalist Paulo Martins opposes two equally corrupt political candidates: a pseudopopulist and a conservative. In this context, Paulo is torn between the madness of the elite and the blind submission of the masses. But, in this complex tropical reality, nothing really is what it seems to be.

Noronha is a low middle-class civil servant who lives with his frustrated wife Gorda and their four eldest daughters. The youngest one, virginal Silene, is unexpectedly sent back from boarding school after killing a female cat and her seven newborns in a hysterical fit. Many dark family secrets will emerge from that episode leading to tragic events.

Marcelino, a country bumpkin, comes from the countryside to try his luck in Rio de Janeiro. His uncle Simão, a taxi driver and resident of a favela with Sofia, comes to greet him at the train station. A neighbor, Tereza, takes an interest in the newcomer. At the pier, the criminal Zé receives a package and is pursued by police. Mira Diler performs at the Caverna nightclub. In her dressing room, the criminal Zé is found, injured and without the package. Valentino complains about the police action that is disrupting his "business." Marcelino still hasn't found work; at the same time, he tries unsuccessfully to sell his compositions. He begins helping his uncle as a driver, but puts his own worries first: he goes to the nightclub looking for Mira, but finds himself caught up in Valentino's schemes.

Drawing inspiration from a poem penned by Castro Alves, this film vividly captures the political, cultural, and intellectual climate of Brazil during the late 1970s. At its core, the story revolves around four distinctive embodiments of Christ's image: a black man, a soldier, an Indian, and a guerrilla fighter. These courageous individuals, hailed as the harbingers of doom in the tupiniquim lands, valiantly combat the insatiable avarice and oppressive "civilizing" brutality propagated by the formidable John Brahms—a foreign exploiter devoid of morals.

Earning her living by dubbing American TV Series, a woman dreams of becoming an international Hollywood star.

The destiny of four women - a beautiful model, an alcoholic, a middle-aged spinster and a famous model - is traced inside an advertising agency. They all look for true love and professional recognition, but get involved in turbulent relationships instead.

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.

After killing a troublemaker, Cristino flees to a town in the Northeast and is forced to join Lampião's gang, where he becomes his right-hand man, under the name Corisco, the Blond Devil. He falls in love with Dadá, a farmer's daughter, and takes her with him by force. Gradually, she learns to love him, and they live together for 13 years in the cangaço. Corisco escapes the Angico massacre but is captured by Lieutenant Zé Rufino's volante after beheading the family of Lampião's informant. Dadá and Corisco, on the way to hand them over to the authorities, reminisce about the adventurous adventures of their lives.

Contemporary film critics regard the epic film I Am Cuba as a modern masterpiece. The 1964 Cuban/Soviet coproduction marked a watershed moment of cultural collaboration between two nations. Yet the film never found a mass audience, languishing for decades until its reintroduction as a "classic" in the 1990s. Vicente Ferraz explores the strange history of this cinematic tour de force, and the deeper meaning for those who participated in its creation.

Biography of one of the legendary names in the Samba genre of Brazilian music. Although he could hardly dance or play an instrument, he became one of the main composers of Portela, an important Samba "school" in Rio de Janeiro.

On the day of Pedro Boiadeiro's wedding, a band of cangaceiros who survived the Angicos massacre invade his home, then proceed to beat him up, and abuse and murder his wife. Pedro sets out to get revenge on each one.

Didi, Soró and Tatu in search food and water head for the town of Oróz. On their journey they find a Scarecrow, a man in a metal vat, and later are arrested by a Lion Sheriff.

Os Trapalhões was a Brazilian comedy group and also a Brazilian television series created by Wilton Franco. Its members were Dedé Santana, Zacarias, Mussum and their leader Didi Mocó, that was played by Renato Aragão. The name Trapalhões is derived from the Portuguese verb atrapalhar, which means the opposite of helping, to do something the wrong way or to Those that confuse. The name is translated "Tramps" in English DVD subtitles. It was aired by Rede Globo from 1977 to 1999. On March 18, 1990, Zacarias died due to respiratory failure, but the group and the series didn't come to an end until July 29, 1994, when Mussum died due to an unsuccessful heart transplant.

In the tiny poor town of Asa Branca, in the middle of Brazilian Northeast, Roque Santeiro is worshiped as a saint. He was supposedly killed by a bandit, 18 years ago, trying to save the local church. After his disappearance, local leaderships such as landowner Sinhozinho Malta and mayor Florindo, took profit on that to control the humble population. They even make up a widow, Porcina, who should have married Roque secretly before his death. What they don't expect is that Roque is alive, and he's back to, allegedly, "save his people". Now Malta, Florindo, Porcina, and others must hold him down and explain the "truth" to their commoners, in a desperate attempt to save their own bottoms. Meanwhile, mysterious facts surround Asa Branca, such as a Werewolf, a film crew who are trying to shoot a movie about Roque's story, and violent murderers.

Colonel Epaminondas is a retrograde and authoritarian man, who commands and dismantles the region. He declares war on Pedro Galvão, his main rival, when he donates part of his land – purchased from the colonel – for the construction of a church and a school. The arrival of professor Juliana, right at the beginning of the plot, changes the lives of the residents of the small village. Juliana takes over the school and ends up arousing the interest of Fernando, Epaminondas' son. Oblivious to the fights that drive the story are Pituca (Patrí and Serelepe (Aires Pinto). The friendship between the two children, however, does not please the colonel, who is always fighting with his daughter. 'Meu Pedacinho de Chão' was co-produced and shown simultaneously by Globo and TV Cultura in São Paulo.

The young and rich Patricia, daughter of Ambassador André Dumont's first marriage, is in love with and reciprocated by Luiz Carlos, a poor boy, son of the family's maid, Isolda. Whoever doesn't like to see her with the maid's son is her stepmother, Renata Dumont, André's wife. Renata is an ambitious woman who hides her humble origins and a secret from the past that unites her with Isolda. Career, she married the diplomat André, from a traditional family, with whom she had a son, Lipe.

The soap opera critiques the power struggles among rural politicians in the 1920s. Joaquim is shocked when a doctor reveals that his son, Luís Jerônimo, has a lung lesion. To recover his health, the young man leaves Rio de Janeiro for Colonel Boanerges's farm in Vila da Mata, Espírito Santo. There, he meets Zuca, and the two fall in love. Zuca is the colonel's goddaughter and the fiancée of the fearless cowboy Tobias, who refuses to accept the possibility of losing her to the outsider. Zuca and Luís Jerônimo face numerous obstacles in pursuing their love. Their romance is also threatened by the arrival of Pepa in Vila da Mata; having been in love with Luís Jerônimo back when he lived in Rio, she tries by every means possible to drive the couple apart.

Romantic and dreamy, Eliana works at a five-star hotel and becomes involved with unrequited love, a bumbling gang, and a complex police story.

It tells the story of the Camabará family for many generations, which were fundamental to the social and political formation of the state of Rio Grande do Sul. The stories are remembered by Dona Bibiana, who remembers the life of her grandmother Ana, her husband, the Captain Rodrigo, his son Bolivar and his daughter-in-law Luzia.

Mário Fofoca, a bungling detective, moves to Rio and, with the help of a friend, investigates cases—starting with a wife's suspected infidelity.

Jurema, of humble origins, was raised on a large farm together with Vítor Correia and Carlos Valadares, whose father was the farmer. The three of them were very close and spent their childhood together. Only in adolescence began the rivalry between Carlos and Vítor, because of Jurema.