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!
An authentically marginal cinema created in Catholic university in Brazil. One of the most intriguing and imaginative moments in modern cinema in the voice of some of its select conspirators—with Carlos Reichenbach at the lead—, and through the most razing flow of images that can possibly be conceived.
Adaptation of the series shown in 1986. Marcos and Lurdinha live in love in the 1950s. The young man is the son of separated parents and his mother, Glória, works as a cashier in a nightclub. The conservatism of the girl's family and the sexual repression of the time are factors that affect the couple's relationship.
"Portraits and excerpts from Brazilian films from all times. Actors, directors and images that affirm cinema."
Daniel is a taxi driver who’s married to Adalgisa. When she starts acting in low-budget movies, he forbids her from seeing their son, Joaquim. For more than a decade, Daniel nurtures a feeling of revenge for his ex-wife, which gains strength when their now adult son finds his mother in full professional decay.
Based on a book by Machado de Assis (1839-1908) and adapted to the present time. After the death of the philosopher Quincas Borba, his friend and disciple Rubiao inherits all he possessed: his fortune, his dog, his philosophy and the germ of his madness. Rubiao's passion for Sofia, a friend's wife, places him at the center of a game in which she is the main piece while he is the only one who ignores the rules. The story of a dreamer and delirious man facing a reality to which he is not prepared.
Eternamente Pagu is a biographical film about Patrícia Galvão, best known as Pagu, a Brazilian political, literary and artistic activist. An important figure of the Brazilian Modernism, Pagu was also a militant for the Brazilian Communist Party after she married writer Oswald de Andrade. She broke up with Andrade and, as a journalist was arrested by the Dictatorship of Getúlio Vargas. After she left prison, she abandoned Communism in favor of Trotskyist Socialism, married Geraldo Ferraz, and started a career as theatre director.
In the 1950s, Lurdinha and Marcos fall in love at the first sight. She studies at the Institute of Education, and he studies at the Military College. Two traditional educational institutions in 'Tijuca', in the North Zone of 'Rio de Janeiro'. But Lurdinha's conservative parents reject Marcos because he is son of separated parents and try, in every way, to keep him away from her.
Paulo Barbosa Villaça (Bauru, São Paulo, 1933 — Rio de Janeiro, Rio de Janeiro, 1992) was a Brazilian actor and theatre director. Villaça worked as a Literature professor, journalist and advertising manager before his breakthrough as an actor in the 1960s. He achieved success by playing the main role in Rogério Sganzerla's "The Red Light Bandit" (1968). During the 1970s, Villaça was married to famous Brazilian actress Marília Pêra. He played parts in over 20 films, being a reconizable figure in productions from the Brazilian Cinema Marginal movement during the 1960s and 1970s. He also had a solid career at the theatre, where he acted in the Teatro Oficina company and played roles in many important plays, such as "Navalha na Carne", "Fala Baixo Senão eu Grito" and "Grande e Pequeno". In TV, he appeared in shows such as Rede Globo's "O Bofe" and Rede Bandeirante's "Os Adolescentes", limited series like "Quem Ama Não Mata" and "Chapadão do Bugre" and soap operas such as "Helena" and "Vale Tudo". His last film was 1992's "Perfume de Gardênia", which paid homage to his iconic role of The Red Light Bandit. He died in Rio de Janeiro from HIV-related health problems, and was buried in São Paulo.
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