Glauber Rocha

A deep dive into Glauber Rocha's years exiled in Italy in the 70s. Through a collection of interviews and archives, the movie shows the making of his film Claro (1975) and his relation with European auteurs in their filmic and political views.

The new Brazilian cinematic movement (Cinema Novo) through films starring actors Antonio Pitanga and Luiza Maranhão.

Simon, a deeply religious man living in the 4th century, wants to be nearer to God so he climbs a column. The Devil wants him come down to Earth and is trying to seduce him.

Documentary about Brazilian filmmaker Glauber Rocha, one of the most important names in the Cinema Novo, with interviews with some of his friends and colleagues.

From the first meeting with the critic Louis Marcorelles to his last interview in Cahiers du cinéma, a portrait of Glauber Rocha, a leading figure of Cinema Novo, enriched with testimonies from his close friends such as Juliet Berto and Christiana Tullio Altan.

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.

Contemporary film critics regard the epic film I Am Cuba as a modern masterpiece. The 1964 Cuban/Soviet coproduction marked a watershed moment of cultural collaboration between two nations. Yet the film never found a mass audience, languishing for decades until its reintroduction as a "classic" in the 1990s. Vicente Ferraz explores the strange history of this cinematic tour de force, and the deeper meaning for those who participated in its creation.

A politically oriented film in which images suggestive of a mock western are accompanied by an attack on all cinematic conventions to date and a debate on the nature and possibility of revolutionary cinema.

Drawing inspiration from a poem penned by Castro Alves, this film vividly captures the political, cultural, and intellectual climate of Brazil during the late 1970s. At its core, the story revolves around four distinctive embodiments of Christ's image: a black man, a soldier, an Indian, and a guerrilla fighter. These courageous individuals, hailed as the harbingers of doom in the tupiniquim lands, valiantly combat the insatiable avarice and oppressive "civilizing" brutality propagated by the formidable John Brahms—a foreign exploiter devoid of morals.

Originally produced for German TV, Improvised and Purposeful is a firsthand look at the "Cinema Novo" movement (otherwise known as the 'Brazilian New Wave'). Director Joaquim Pedro de Andrade focuses on six Cinema Novo filmmakers working in Rio in 1967.

Set against the turbulent atmosphere of the 1960s, Tropicália is a feature length documentary exploring the Brazilian artistic movement known as Tropicália, and the struggle its artists endured to protect their right to freely express revolutionary thought against the traditional Brazilian music of that time.

Explores the complex relationship between the spirit, body, and mind. The film is a nightmare with closed eyes because it counts among the most terrible moments of my life, my second exile, which lasted a very long time. Inspired by an ancient Hindu legend.

In 1965, a year after the military coup in Brazil, an oasis of freedom opened in the country's capital. The Brasília Film Festival: a landmark of cultural and political resistance. Its story is that of Brazilian cinema itself.

Film directors with hand-held cameras went to the streets of Lisbon from April 25 to May 1, 1974, registering interviews and political events of the Portuguese "Carnation Revolution", as that period would be later known.

Follows the story of Opinião, a theatre group created in 1964 during the early Brazilian dictatorship period to oppose the government through artistic performances. Considered the first left-wing response to the dictatorship, the group gathered now famous Brazilian artists such as Nara Leão, Maria Bethânia, João do Vale and Millôr Fernandes.

A totally Cardoso-appropriated footage delirium, done as a tribute to US independent cinema's original rebel. In the end, Corman himself blesses Cardoso by saying: "You blended horror, sex and humour very well. And particularly the editing is very good because the film never lagged or slowed down". Which film? This one!

Documentary on "Antonio das Mortes", Glauber Rocha's 1969 film.

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A final conversation with departed actor, director and musical producer Julio Calasso Jr., a key character in the Brazilian artistic scene. At his old house in Butantã, São Paulo, Julio talks about his experiences, frustrations, joys and tragedies.

The documentary "Depois do Transe" covers the entire process of creating the masterpiece "Entranced Earth", which was released and awarded at the Cannes Film Festival in 1967. "Entranced Earth" charmed the world and won great admirers such as filmmaker Martin Scorsese and the writer Marguerite Duras, who at the time considered a "fabulous filmic opera."

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This controversial film from director Glauber Rocha records the funeral of his friend, major Brazilian painter Emiliano Di Cavalcanti.

The Portuguese Revolution (1974-75) seen through the eyes of some of the most important photographers and filmmakers that witnessed the event. Their dreams and expectations and what came out of the revolution. With outstanding historical footage.

This film shows people with constant psychological and social conflicts: the violence among outlaws, conflicts between man and woman, police and society.

Jorge Amado no Cinema was made for a television program dedicated to the writer Jorge Amado. In this documentary, Jorge Amado is filmed in his home, surrounded by his large family; in a bookstore, during an autograph session of one of his books, in a cinema in Salvador, at the avant-première of the film Tenda dos Milagres, by Nelson Pereira dos Santos, an adaptation of the book of the same name by Jorge Amado. Glauber films his friend with a lot of humor and affection. The camera evolves slowly, incessantly and quickly over the writer, his family members, actors and actresses from Nelson's film, in addition to passing through objects of candomblé rituals that make up Jorge Amado's museum.

Through folklore manifestations and diverse artistic expressions, the film is a document that exalts and honors the Bahian culture.

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Expedito, after being abandoned by his parents, became Zefa's adopted son until he became a man and started earning his living as an independent fisherman. As soon as he finds out that Zefa is very ill, Expedito runs back home and finds his adoptive mother in agony. At the edge of the bed, a mysterious woman, who claims to be Death, sits.

In the words of the director, a movie about 'the colonizers in the view of the colonized', the movie presents a series of disconnected happenings throughout Europe and Brazil emphasizing the perception of human life as trance-like experiences and thus offering a view of the human history as a connection of symbolic behavior.

Documentary on the view, testimonies and times of Darcy Ribeiro, since military dictatorship.

Documentary about Der Leone Have Sept Cabeças

An authentically marginal cinema created in Catholic university in Brazil. One of the most intriguing and imaginative moments in modern cinema in the voice of some of its select conspirators—with Carlos Reichenbach at the lead—, and through the most razing flow of images that can possibly be conceived.

Helena Ignez is one of the main female figures of Brazilian cinema. She developed a new style of acting. Nowadays, she directs independent films. The documentary tells some of the History of Brazilian cinema, its political context and Helena's trajectory.

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At 84 years of age, Lúcia Rocha admitted herself to a hospital in São Paulo to undergo heart tests. Upon receiving the news about the risk to her life, Lúcia, laconic, tells the doctor: 'Then open it'. This is the second time she has undergone bypass surgery. From this gesture, the documentary Abry was born (with y, sign of the unconscious, according to the nomenclature invented by his son, Glauber Rocha). To relate her memories, she invites filmmaker Joel Pizzini, who offers his mini camera as an instrument to amplify Lúcia's imagination. Abry is a poetic dive into Lúcia Rocha's fabulous universe, reconstructing her trajectory in Brazilian cinema through sounds, images and characters with whom she lived closely.

Documentary about the relationship between filmmaker Glauber Rocha and Cuba.

In 1979, while Brazil was going through the troubled moment of the Amnesty Law, Glauber Rocha directed the program Abertura for TV Tupi, in which he interrogated a contradictory and boiling Brazil head-on, full of utopias but always under the weight of secular wounds.

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One of the most daring and radical shows presented in Brazilian television: "Abertura". It was broadcast between February and October, 1979, with weekly editions, presented by Brazilian filmmaker Glauber Rocha. The video is a compilation of characters, statements, and interviews about the political and cultural situation of the country during the final stages of the Military Dictatorship.

Documentary that celebrates 100 years of cinema in Latin America and talks about the origins and the development of cinema in this subcontinent. Its structure is based in 12 short films directed by various Latin American directors. These are: 1) "Los inicios", Iván Trujillo 2) "Cuando comenzamos a hablar", María Novaro 3) "Jugando en serio", Jacobo Morales 4) "De cuerpo presente [Las espirales perpetuas del placer y el poder] Cine Mexicano [1931- 1997]", Marcela Fernández Violante 5) "Cuando quisimos ser adultos", Edmundo Aray and David Rodríguez 6) "Cinema Novo", Orlando Senna 7) "Memorias de una isla, Juan Carlos Tabío 8) "Un grito, 24 cuadros por segundo", Julio García-Espinosa 9) "El día de la independencia", Federico García 10) "¿Sólo las formas permanecen?", Fernando Birri and Pablo Rodríguez Gauregui 11) "Todo final es un principio", Andrés Marriquín.

Documentary that addresses, through the testimony of directors and actors, the work of Dib Lutfi, considered one of the greatest photographers of Brazilian cinema.

The naive sailor Ron arrives in Bahia to visit the famous Água dos Meninos street market. There, however, he is passed behind by the prostitute Maria, lover of the bandit Chico Diabo, who stabs him. He, however, can't forget her.

The rise of Brazilian directors Anselmo Duarte and Glauber Rocha occurred through different professional trajectories. Rocha working as a young film critic in Bahia and Duarte working his way through the Brazilian studio system as part of the leading actors. However, the two crossed paths amicably on the set of O Pagador de Promessas, Anselmo Duarte's 1962 film that won the Palme d'Or.

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The making of Cabezas Cortadas.

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An experimental, visual poem that registers life and the architecture of Sintra (Portugal), captured by Paula Gaitán and featuring glimpses into her own photography art, rural/urban contrast, and memories with Glauber Rocha and family. Accompanied by the soundwork and music of L. Borgia Rossetti.

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A diary of a trip filmed by Glauber in Punta del Leste (Uruguay – 1972) that documents the reunion of the Rocha familiy: Dona Lúcia, the mother; Anecy Rocha, the sister; Paloma, the daughter, and Walter Lima Jr., the then brother-in-law, with the director, exiled in Europe.

Documentary about Humberto Mauro, his work and its importance.

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Using home movies and other media, a filmmaker returns to Sintra, Portugal to search for memories of her late husband, Brazilian filmmaker Glauber Rocha.

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