Saul Lachtermacher

Old couple are being evicted and turn to their five children for help. Since no one can accommodate the two of them, the children decide to separate the couple.

An accident at a construction site, resulting in one death, sets one worker off on a struggle for justice that exposes the mechanisms of exploitation and the class relations of a country that had undergone one decade of fast-paced ‘conservative modernisation’ at the hands of the military. As a sort of sequel to the classic The Guns (1964), following the fate of those characters as they move from enforcers of exploitation to exploited, it offers more than a snapshot of the period: the correspondent time lapses in fiction and reality capture the passage of a chunk of Brazilian history between the two films, and, therefore, also the transformations in cinematographic approaches to the social and political between the two moments. Equally daring in content and form, and in the originality of the adequacy of one to the other, it won the Silver Bear at Berlin.

Beto is unemployed and gets involved in making a porn film, where he ends up mixing his own story with that of the character he plays.

Dino and Dalmo are twin brothers. Dino is very shy, and the other, the opposite: a true Don Juan. When Dalmo dies, after being shot by a furious husband, he is received in heaven by a Club of Don Juans. But, in order to be admitted, he must go back to Earth, incarnated in his brother's body, and correct three mistakes he had made in his previous life.

Five segments about the hardships faced by people living in slums on hills in Rio de Janeiro.

A long time public servant is told by an angel that he will die at midnight of the following day.

No description available.

Renato has fallen in love with his neighbor Marta, but their families don't get along. To try to solve the problem, each one takes their own family to a picnic in Paquetá, where everyone will have to interact.