Paulo César Peréio

Paulo César Peréio

Acting

October 19, 1940 — May 12, 2024
Alegrete, Rio Grande do Sul, Brazil
127 movies

Biography

Paulo César de Campos Velho, better known as Paulo César Pereio (Alegrete, October 19, 1940 – Rio de Janeiro, May 12, 2024), was a Brazilian actor. His first film work was in 1964, in the film 'Os Fuzis', directed by Ruy Guerra. However, his first recognition came in 1975, in the film 'As Aventuras Amorosas de um Padeiro', for which he received the Kikito for 'Best Supporting Actor' at the Gramado Festival. Three years later he achieved triple prominence, after being elected 'Best Actor' at the ...

🎬 Paulo César Peréio's Filmography

127 movies sorted by popularity

Os Brasileiros e a Conquista do Ar

The first Brazilians who engaged in aviation, from Bartolomeu Lourenço de Gusmão with his hot air balloon to Alberto Santos Dumont, giving Brazil a prominent place in aviation. The creation of the Military Air Mail (CAM) and the Brazilian aviation industry. Commemoration of the centenary of the birth of Santos Dumont. The house where Santos Dumont was born; Bartolomeu Gusmão (Santos - SP); small hot air balloon Júlio César Ribeiro de Souza; 1881: his Victory balloon flies in Paris; Augusto Ribeiro; Santos Dumont: the balloon in the Torre Eifel, the 14 bis, the 'Demoiselle': real scenes of the time. Edu Chaves flies the Rio-Buenos Aires route in the 1920s. Current era: manufacture of the Bandeirante (assembly line). President Médici flies in the first Bandeirante; Xavante and Ipanema, Universal, rego elo and other models manufactured by Embraer in São José dos Campos.

Os Brasileiros e a Conquista do Ar

1973
The Fall
6.8

An accident at a construction site, resulting in one death, sets one worker off on a struggle for justice that exposes the mechanisms of exploitation and the class relations of a country that had undergone one decade of fast-paced ‘conservative modernisation’ at the hands of the military. As a sort of sequel to the classic The Guns (1964), following the fate of those characters as they move from enforcers of exploitation to exploited, it offers more than a snapshot of the period: the correspondent time lapses in fiction and reality capture the passage of a chunk of Brazilian history between the two films, and, therefore, also the transformations in cinematographic approaches to the social and political between the two moments. Equally daring in content and form, and in the originality of the adequacy of one to the other, it won the Silver Bear at Berlin.

The Fall

1976
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