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Bonga, o Vagabundo

Bonga is a bum who lives on the streets, alone and free, with no commitments, except for pulling off naive scams to get food. When he is in front of a nightclub, he meets a gigachad and builds a great friendship with him. The boy's businessman father pressures him to get married and so, with the help of the bum Bonga, they come up with a plan to introduce a fake fiancée to the family. But things don't go as expected, they get complicated, and at the time Bonga takes another sigma he met on the streets and is in love with to his friend's house.

Bonga, o Vagabundo

5.5 1969
Lapa 67

Set in the vibrant nightlife of Rio de Janeiro’s historic Lapa district, Lapa 67 captures the atmosphere, music, and social life of one of Brazil’s most iconic cultural neighborhoods during the 1960s. Through documentary-style observation, the film presents dancers, musicians, bars, and ordinary people enjoying an evening in Lapa, creating a time capsule of urban Brazilian culture at a moment of transformation. The short preserves rare images of the district’s nightlife and offers a glimpse into the rhythms, fashions, and social interactions that defined the era.

Lapa 67

NR 1967
Bom Mesmo É Carnaval

Colonel Polidoro is the political chief of the small town of Passaroca. Near the city hall elections, he decides to help his candidate by setting up an adult literacy course. For this, he needs to find a competent teacher and decides to go to Rio de Janeiro with this function. False moralist that is, ends up falling in the revelry, meets a beautiful dancer and invites the girl to spend the carnival on his farm. Drunk, he confuses the addresses and causes his driver to take the dancer in place of the teacher to Passaroca, which will cause a lot of confusion.

Bom Mesmo É Carnaval

6.5 1962
The Guns

A group of armed soldiers is sent to the Northeast of Brazil in an attempt to stop a famine-struck population from invading and stealing a food deposit in the dry backlands. While the alienation and insanity of people driven to hallucination by their latent hunger is conducted by the predictions of a religious figure, a truck driver observes the situation and remains torn between his friendship with the soldiers and his revolt against the lack of government action in fighting the misery that lingers over the region.

The Guns

7.5 1964
Virou Bagunça

The Gerimum Trio arrives in Rio de Janeiro wanting to make it big in their artistic careers. They struggle with great difficulties and even sing in the street. The police pursue the three, who end up in the place they most want to be: a television studio. Mistaken for northeastern congressmen, they are taken to the TV director-general, Mr. Walter. Shortly after, Marly, the advertising star, and her secretary, Josias, enter. A heated argument ensues, but the situation is resolved when the real congressmen show up.

Virou Bagunça

7.8 1961
The Fifth Power

Foreign agents from an unidentified nation clandestinely install radio and TV antennas in Rio de Janeiro devices that emit subliminal waves that alter the perception of the population. They aim to transform the people into an aggressive and imbecile mass, leading the country to chaos, allowing the government to be taken to usurp Brazil's natural wealth. A journalist, Carlos, accompanied by chemist Laura Leal, begins to investigate a series of facts and discovers those responsible for the disturbances.

The Fifth Power

6.6 1962
Copacabana Palace

For three days at the Copacabana Palace in Rio de Janeiro, amorous cross-fertilizations are intertwined with petty tricks against the backdrop of the famous carnival festivities. Three (sympathetic) accomplices are beaten to a punch in the hotel vault; three charming stewardesses are looking for entertainment, but their three Carioca host, musicians Tom Jobim, Luiz Bonfá, and João Gilberto, are married; a man, separated from his wife, wants to catch her in the act of adultery.

Copacabana Palace

5.0 1962
El Justicero

A shockingly irreverent follow-up to the rural austerity of Barren Lives, dos Santos’ Godardian social satire owes more than a nod to the self-conscious antics of the French New Wave. The pampered son of a general, El Justicero is a hipster playboy who fancies himself a James Bond/Jean Paul Sartre urban hero. “Archetypical” yet “full of contradictions,” he sees that justice is achieved for the disadvantaged while taking advantage of certain bourgeois perks. His exploits are closely followed and eventually directed by his biographer who decides a film is not only more lucrative than a book, but it gives him the luxury of reviewing previous scenes. Unlike Bond, El Jus eventually experiences an awakening which threatens to compromise the entertainment value and glamour of his life story. - Harvard Film Archive

El Justicero

5.9 1967