Jece Valadão

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.

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The telenovela tells the story of Francisca Moura Imperial, a wealthy businesswoman, and her two sons: Jordão and Tiago, who show little interest in the family business. Jordão is the product of a whirlwind romance in Francisca's youth, while Tiago was born from her marriage to Roberto, a seductive man who moves in high society but is penniless. Francisca is preoccupied with her sons but cannot interfere in their lives as much as she would like. Eccentric and full of outlandish ideas, she decides to undergo plastic surgery, which makes her look 20 years younger, believing that this will bring her closer to Jordão and Tiago. Francisca's greatest concern is that at least one of her sons will marry and give her a grandchild, thus ensuring the continuation of the family name.

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Adaptations of 40 short stories of brazilian playwright Nelson Rodrigues, written between 1951 and 1961. The stories were considered scandalous at the time as Rodrigues used immoral characters and black humor to satirize the hypocrisy and repression in people's daily lives.

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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.

Adapted from the homonymous work by Rachel de Queiroz, it presents the saga of a woman against female submission in nineteenth-century patriarchal society.

Cabral is a writer who decides to spend his summer writing a series about love stories. It is then that he begins to look back over his life and his works. He is married to Glorinha, a woman twenty years younger than him, with whom he has a daughter, the young Samanta. Glorinha dreams of having a second child, but Cabral rejects the woman's desire, creating a stalemate between the two.

Brutal murders take set during the new production of "Marilia De Dirceu" at the Theatro Municipal in Rio De Janeiro. When Cristina Andreatti, daughter of famous Brazilian musician - Gastão Andreatti, takes the lead role, replacing La Carlota Alencastro, Cristina falls on the hands of a mysterious masked man who claims to be Alfredo do Vale, a musician who was killed in a brutal accident years ago.

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.

"Portraits and excerpts from Brazilian films from all times. Actors, directors and images that affirm cinema."

Anesio Gebara is well known in Rio de Janeiro: he owns a samba school and he bankrolls an illegal lottery. This drama series follows this man--who is seen throughout the city as a mob boss and probable drug trafficker--his family and his complicated relationship with his sons.

On a scorching summer day in Rio de Janeiro, five impoverished black boys venture out of their favela to peddle peanuts throughout the bustling city. As they navigate the various districts of Rio, they bear witness to a series of unfortunate events and encounters, unfolding a vivid tapestry of urban life in Rio de Janeiro during that period. These true misadventures shed light on the gritty reality of the city, unveiling its vibrant urban tapestry.

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!

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.

In the early seventies in Rio de Janeiro, detective Mariel Moryscötte de Mattos belonged to a special police force called "The Golden Men". This powerful group of the elite of the police was created with the intention of eliminate crime from Rio de Janeiro, and they had privileges above law to expedite their action against the outlaws. However, absolute power in wrong hands corrupts, and this group formed the "Death Squad", executing criminals without the conventional trial from the justice.

A talented songwriter of sambas is forced to face the social injustices of the city around him.