Malandros em Quarta Dimensão

A scientist swaps the mind of banker and an idiot by accident.

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.

Strange graffiti on the walls of Rio de Janeiro, with the meaningless words Lerfá Mú, become the talk of the town, and cause for concern for the authorities.

Five friends decide to enjoy Mardi Gras without their wives, leaving them home. But one of the wives doesn't accept this arrangement and tries to get even.

Born a fully grown black man in a village in the Brazilian jungle, Macunaíma later magically transforms into a white man before making an adventure-filled trip to the city of São Paulo. Once there, he becomes something of a dandy, falling in love with Ci, a revolutionary who dies in an accidental bombing. After robbing a ruthless industrialist, Macunaima returns to his village where he finds his newly acquired knowledge and possessions of little use.

The Companhia de Esquetches Musicados do Teatro 'Brasil' is in crisis. After the debut of a new play failed, impresario Artur Fernandes, despite protests from Nini del Mar—the company's star—decides to hire Vitorino, the only writer who understands the audience's tastes and the company's artistic capabilities, to write the next play.

A documentary on the influence that carnival has on the daily life of the Mangueira hill in Rio de Janeiro. It follows the manufacture of the carnivals of 1981 and 1982, interviewing several residents who tell the story of more than half a century of the favela's existence and emphasizing its community importance and cultural, to the sound of the most beautiful sambas composed on Mangueira.

Colonel Polidoro is the political chief of the small town of Passaroca. Near the city hall elections, he decides to help his candidate by setting up an adult literacy course. For this, he needs to find a competent teacher and decides to go to Rio de Janeiro with this function. False moralist that is, ends up falling in the revelry, meets a beautiful dancer and invites the girl to spend the carnival on his farm. Drunk, he confuses the addresses and causes his driver to take the dancer in place of the teacher to Passaroca, which will cause a lot of confusion.

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 theater manager about to go bankrupt decides to accept help from his daughter and her boyfriend to save the family's finances, which she does with the sponsorship of a rich man.

Two authors go look for a business to finance their dream musical.

Professor Leônidas Jau is an enemy of football, and in conferences and articles he throws all his hatred against the sport. Friendenreich, his son, however, loves the sport. Leonidas then has a falling out with his son, which may be saved.

Two stories chronicle the days of the bohemian, libertine youth of 1960s Rio de Janeiro.

A nurse falls in love with her patient and secretly marries him. When treating another patient, he falls in love with her and, pretending to be in agony, asks for one last wish: to marry him, and she accepts.

A clumsy detective and his secretary are hired to solve the mysterious, vampiresque deaths happening at a nightclub show.

A man tries to cheat on his wife, but even though he stops earlier, everyone believes that he was unfaithful.

Fitzcarraldo is a dreamer who plans to build an opera house in Iquitos, in the Peruvian Amazon, so, in order to finance his project, he embarks on an epic adventure to collect rubber, a very profitable product, in a remote and unexplored region of the rainforest.

The youngest daughter of a rich man has been raped by five black men in the slums of Rio de Janeiro, and her father arranges her marriage to one of his employees in order to save the family’s honor.

Clara directs the rehearsals of a theatrical play about Fernando Pessoa while constantly seeking the right man and the love of his life. One of the actresses is the lesbian Ana, who interprets the poet Mário de Sá Carneiro. She is Clara's friend and confidant with whom she shares an apartment. Clara does not perceive Ana's love for her, that always helps her to recover from the disappointments. Unlike the character Sá Carneiro, poet of decadentism, nostalgia, metaphysics and vague, Ana is the pragmatic side of Clara, who often brings a disillusioned vision as if it were Fernando Pessoa himself, who may be associated with concepts of the poet's heteronyms.

The story of two radically different men thrown together in a Latin American prison cell. One is Valentin, a journalist being tortured for his political beliefs. The other is Molina, a gay window-dresser who fills their lonely nights by spinning romantic fantasies drawn from memories of old movies.

Documentary on one of Brazil's most controversial personalities: Getúlio Vargas, an ex-president.

A three-episode anthology film based on short stories by Brazilian writer Graciliano Ramos.

As a baby, Carlos was abandoned in the church at the feet of Holy Mary, raised by the priest, and consecrated to her. As a child, he falls in love with the daughter of the Commander, the local landowner, who is already promised to the son of a ruined count.

The love misadventures of a teacher, a woman who gives up living in a big city in order to teach country children how to read and write.

Only a fragment of the film survives. Taking advantage of Carnival season, Álvaro devises a Machiavellian plan to seduce a young woman. When she shows up at his house to deliver a bundle of clothes, he shows her a beautiful gigolo dress and invites her to the town's dances. They would only be for two or three hours. Liz accepts, and together they go out dressed as a gigolo, he as an Apache. Liz has fun with Álvaro, and at one point, they decide to go to the beach. Dizzy from champagne and dancing, she loses consciousness, waking up alone. Desperate, Liz runs to Álvaro's house and discovers that he has left for the north. Disoriented, she wanders the streets until she meets Maneco, an employee of Dr. Elzman. Maneco takes her to the doctor's house, and Liz tells him everything that happened. The doctor, fond of the young woman, decides to protect her.

For this behemoth, Bressane took his opera omnia and edited it in an order that first adheres to historical chronology but soon starts to move backwards and forward. The various pasts – the 60s, the 80s, the 2000s – comment on each other in a way that sheds light on Bressane’s themes and obsessions, which become increasingly apparent and finally, a whole idea of cinema reveals itself to the curious and patient viewer. Will Bressane, from now on, rework The Long Voyage of the Yellow Bus when he makes another film? Is this his latest beginning? Why not, for the eternally young master maverick seems to embark on a maiden voyage with each and every new film!

As soon as Norma decides to get married, Sonia finds herself with only one option: to end her successful partnership with her friend who is about to get engaged. Saddened by the loss of the prestige she had earned over the years working alongside Norma, Sonia tries hard to raise any amount of money she can to put together a new musical number for herself.