Signals: The Mouth of Garbage
Overview of films
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O império do desejo
Wild road trip/sex romp was criticised as ‘pornographic spectacle’ but has later been hailed as one of the great Brazilian films.
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A opção (ou: As rosas da estrada)
Combining documentary and staged action, Candeias delves into the profoundly quotidian reality of a group of rural women who cut sugar cane and liv
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O bandido da luz vermelha
An anarchic and politically charged portrait of a suave thief from the favelas (based on an actual real-life criminal). Filmmaker Rogério Sganzerla
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Orgia (ou: O homem que deu cria)
Celebrated novelist Trevisan’s sole feature is a radical, plotless re-envisioning/critique of Cinema Novo, recounting the journey of a deranged you
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O vampiro da cinemateca
Free-flowing essay/diary/fiction work in Super-8 featuring many of São Paulo’s film luminaries in candid, often bizarre, always political moments c
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Snuff – Vitímas do prazer
One of the biggest box-office successes of its era, Cunha’s William Castle-like production deals with two American filmmakers who come to Brazil an
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Fuk Fuk à Brasileira
A class-conflict satire featuring little-person actor Chumbinho as a domestic-cum-slave who escapes the home of his wealthy employers to go on drea
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Festa na Boca
Candeias, the most exhaustive chronicler of the Boca do Lixo, submits this ‘report’ on a lively party thrown on New Year’s Eve, 1976, r
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A margem
Truck-driver turned director Candeias fled the commercial filmmaking scene to be able to tell this neo-realistic story of São Paulo’s underprivileg
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Senta no meu, que eu entro na tua
A witty hardcore diptych about a talking vagina and a man with a strange penile outgrowth on his head, Fraga’s surreal farce is full of zingers and
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Uma rua chamada triumpho (1970-1971)
Second part of two intimate essays on the communities inhabiting the Santa Efigênia neighbourhood in São Paulo, which helped to begin to create a m
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Lilian M.: Relatório confidencial
Breaking the mould of most Boca do Lixo films by tackling both rural and urban cultures, Reichenbach’s first major work explores a common story of