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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
Chico Buarque: Na Carreira

Five years after his last tour, Chico Buarque returns with a show to launch his newest CD, Chico, which has already sold over 80,000 copies. Despite having one of the most solid and prolific careers in Brazilian Popular Music (MPB) — releasing more than 40 albums over 45 years, including solo works and projects — the composer rarely appears on Brazilian stages. This will be only the sixth show he has performed in the last 36 years. Lasting approximately 1 hour and 30 minutes, the setlist is built entirely around the ten songs from the new album. In addition to these, the artist sifted through his vast catalog of over 400 songs—diverse in both genres and themes—to finalize a list of 30 tracks. The project, titled Na Carreira, is a celebration of this great artist’s return to the stage, revisiting classics such as Todo Sentimento, Bastidores, Baioque, O Meu Amor/Teresinha, Anos Dourados, among others.

Chico Buarque: Na Carreira

10.0 2012
Vó, a Senhora é Lésbica?

Joana is a young university student who recently discovered herself as a lesbian. In one of the traditional lunches at the house of his grandmother Clarissa, his cousin Joaquim unleashes the question that gives title to the film. The question shocks not only Clarissa, but also Joan, who, to avoid facing the question and its repercussions, detaches herself from that moment and begins to revisit her childhood memories in that house. A figure stands out among these memories: that of his aunt Carolina, a great friend of his grandmother, who was always around. Little by little, Joan understood that the constant presence of Carolina was not just by chance, and did not mean to her grandmother Clarissa just a friendship. This walk through the past awakens Joana to the possibility of sharing more with her grandmother than she had imagined.

Vó, a Senhora é Lésbica?

8.7 2018
I am

As the international press pours into Havana, Cuba to report on the death of Fidel Castro, a little girl proudly holds a large cardboard sign over her head on the Plaza de la Revolución. In a fascinating shot lasting almost 12 minutes, we watch this girl-braids, red dress, white knee socks, fighting against the wind-as she experiences her moment in the spotlight. We can't see what's written on the sign because she's being filmed from behind. Armed with cameras and cell phones, the people around her are taking countless photos and uninvited selfies with her. As the minutes tick by, our unease grows. Placed in the role of an ignorant spectator, we have time to contemplate the omnipresence of the camera-and we become desperate to know what's written on that sign.

I am

NR 2017