A deep investigation, in the way of a poetic essay, on one of the main Latin American movements in cinema, analyzed via the thoughts of its main authors, who invented, in the early 1960s, a new way of making movies in Brazil, with a political attitude, always near to people's problems, that combined art and revolution.

Cinema Novo

Cacaso, a Brazilian poet, lived in Rio de Janeiro. Born Antonio Carlos de Brito (1944-1987) he was one of the leaders of the marginal poetry movement. Cacaso filled notebooks not only with poems but  reflections, drawings and collages. He also became a lyricist and partner of celebrated songwriters such as Tom Jobim, Edu Lobo, Toninho Horta, João Donato and Sivuca.

Cacaso

Filmmaker Roberto Farias' passion for cinema is revealed by his daughter Marise Farias through an intimate look, from childhood to his political, economic and cultural role in Brazilian Cinema. Through Roberto Farias himself and friends such as Luís Carlos Barreto, Cacá Diegues and Zelito Viana, the film tells the stories of the director who achieved a direct dialogue with the public through successes such as O Assalto ao Trem Pagador (1962), the trilogy with singer Roberto Carlos (1968 to 1971) and Pra Frente Brasil (1982). Texts from an unpublished book of memories are interpreted by his brother, actor Reginaldo Faria.

Roberto Farias: Memórias de Um Cineasta

Armando Costa: “Televisão pra Mim Não é Bico”

The historical, political, and social context of Brazil in the 1960s, 1970s, and 1980s, and the impact of each decade on the life and work of the acclaimed actress Marília Pêra.

Viva Marília!

A Arte Existe Porque a Vida Não Basta

Documentary about the historic interview conducted by director Zelito Viana with Darcy Ribeiro about the Brazilian indigenous people in 1977. Actor Marcos Palmeira reproduces the anthropologist's lines.