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Biophobia

André is a middle-aged rocker, decadent, alone and forgotten, who lives off the crumbs of his successful days. His mother is an award-winning writer, who lives as a recluse in a country house and commits suicide when the degenerative disease of old age begins to threaten her independence. André then goes to her house for a weekend, getting rid of the furniture and books, sharing them with friends and family. In an increasingly empty house, he is faced with his own inability to solidify himself as an adult, to escape his mother's shadow and find his place as a man and artist at forty years old. Surrounded by the bush on all sides, the protagonist's depression leads to increasing paranoia, intensified by alcohol. Lost in a scenario of delusions, memories and literature, André will face his internal and external nature, in a war where everyone nearby can be a victim.

Biophobia

NR N/A
Getulio

The movie depicts the political crisis that led to the suicide of president Getúlio Vargas, in the 19 days that preceded August 24, 1954. The crisis began with the attempted assassination of journalist and politician Carlos Lacerda in August 5, 1954, at rua Toneleros, Rio de Janeiro, in which Major Vaz was assassinated instead. Investigations pointed to Gregório Fortunato, chief of Vargas' personal guard, as the orderer of the frustrated assassination. This incident was one of the most importants in the history of Brazil.

Getulio

6.7 2014
Aperana Street 52

In his film Rua Aperana 52 Júlio Bressane describes the invention of a landscape, the topology of a corner of Rio de Janeiro. The film consists of a series of photographs taken between 1909 and 1955 by, among others, Bressane's parents at and around the address used as a title. These are interlarded with scenes from films made between 1957 and 2005, bringing the total fictional time the film covers to almost a century; one hundred years in which the winding road featured in almost every shot structures the new landscape behind the Aperana, which means 'wrong road'. Rua Aperana 52 is autobiographical, as it is a landscape from Bressane's youth, but it is also not so; it is more a multi-subjective mythology of a place seen through all those films and photographs. Bressane refers to his editing as an intuitive form of thinking aimed at evoking moods which make the viewer the new witness of the fictional landscape. A fiction about a fiction,

Aperana Street 52

5.2 2012