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Related lists: Portuguese-language Movies | 1930 | 1940 | 1950 | 1960 | 1970 | 1990 | 2000 | 2010 | 2020
A man remembers forty-eight crucial hours in his life when, as a child, he visited his mother, the favorite woman of an important politician, in a bordello owned by him, right before some important political changes in 1937 Brazil. In those hours, he discovers his own sexuality.
10-year-old Pixote endures torture, degradation, and corruption at a local youth detention center where two of its members are murdered by policemen who frame Lilica, a 17-year-old trans hustler. Pixote helps Lilica and three other boys escape and they start to make their living by a life of crime which only escalates to more violence and death.
The story of two radically different men thrown together in a Latin American prison cell. One is Valentin, a journalist being tortured for his political beliefs. The other is Molina, a gay window-dresser who fills their lonely nights by spinning romantic fantasies drawn from memories of old movies.
A plane crashes in the Amazon jungle, and its passengers must battle their way through cannibals, slave traders, wild animals and murderous piranha fish to safety.
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Macabéa has just moved to the big city after her aunt, who raised her, died. She gets a job as a typist and moves into a boarding house with three other women. In her spare time, she listens to a radio station called Time; on Sundays, she likes to ride the metro. Then she meets Olímpico, a northeasterner like herself, who has dreams of becoming a congressman.
A tomato is planted, harvested and sold at a supermarket, but it rots and ends up in the trash. But it doesn’t end there: Isle of Flowers follows it up until its real end, among animals, trash, women and children. And then the difference between tomatoes, pigs and human beings becomes clear.
Otavio is an idealistic union leader trying to organize workers at a factory to resist the company's exploitative practices. His son, Tião, one of the employees, is more of a realist and doesn't want to risk losing his job by striking. This clash of perspectives puts the father and son at odds. Fortunately, Tião's mother, Romana, is on hand to act as a moderator between the two opinionated men.
The life of a young man, son of an English officer who lets himself become a prisoner of love resulting in fatalism and disgrace.
In 1925, Gabriela, a poor, uneducated, yet charming woman becomes cook, mistress, and then wife of Nacib, a bar owner in Ilhéus, a small Brazilian coastal town run by the local colonels.
Didi, Soró and Tatu in search food and water head for the town of Oróz. On their journey they find a Scarecrow, a man in a metal vat, and later are arrested by a Lion Sheriff.
Baixo Astral, an evil spirit who lives in the sewers, and whose mission is to bring unhappiness to the world, sees Xuxa on TV asking children to fight for a better world. Threatened by those words, he declares war on her and devises a plan: helped by his allies Titica and Morcegão, he kidnaps Xuxo, her dog. Helped by Xixa (a gypsy caterpillar) and Rafa, a rebel teenager, Xuxa goes on a mission to get her dog back and save the world from Baixo Astral.
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Man meets woman, and invites her home. The two start an intense relationship in order to shield themselves from loneliness.
Fed up with the sea, Paul, a Swiss mechanic working in the noisy bowels of a merchant ship, lands in Lisbon.
This odd film is a major representative of an even odder film genre: direct-to-celluloid opera. It was commissioned by the Portuguese master of style, director Manoel de Oliveira from composer João Paes. Musically, it ranges from 19th-century romanticism to popular, modernist and even "post-modernist" styles. In the initially tame story, a host-narrator tells the story of a wedding between the two lovebirds: Viscount d'Aveleda and the beautiful Marguerite. However, what happens in the bridal chamber is incredibly bizarre. The events after that are even stranger (the film out-does even Luis Buñuel in that department), and the wedding guests and family indulge in cannibalism, among other perversions.
Eduardo Coutinho was filming a movie with the same name in the Northeast of Brazil, in 1964, when there came the military coup. He had to interrupt the project, and came back to it in 1981, looking for the same places and people, showing what had ocurred since then, and trying to gather a family whose patriarch, a political leader fighting for rights of country people, had been murdered.
Hillbilly has one single dream in life: eat beef. He finds a little maid who's anxious to marry, and promises him: in their wedding party, her father would kill an ox.
Nino, tough but sickly, and his older brother Vicente live in the country with their father. After their father disappears ― we’re never sure why ― murder is suggested. Vicente brings his girlfriend to the house, and a different kind of family is established as the three youngsters grow fiercely protective of each other. But their uncle grows suspicious about the fate of the missing father and forcibly kidnaps Nino, taking him away to the city and leaving Vicente to locate him there.
A man explores the process of formation of sexuality and is looking for a woman that does not exist.
The story of João "Jango" Goulart, the Brazilian left-wing president deposed by the military.
Young girl spends her adolescence in an institution for minors, developing some masculine traits in her personality. In this hostile environment, she can only find some sympathy in a teacher. After leaving the place, she falls in love with a divorced woman in her work, mother of a young boy, which aggravates her inner conflicts.
Young and recently separated couple meet in a modern house and start discussing their past relationship.
Adaptation of Graciliano Ramos's novel about his arrest and imprisonment.
Fantasy comedy about Brazilian writer Oswald de Andrade, one of the most important icons of Modernism in Brazil. In the film, Oswald is played by two actors: Ítala Nandi, as his feminine anima, and Flávio Galvão, as the masculine half.
Former athlete enters an old cinema in São Paulo's decadent city centre and meets an intriguing and mysterious woman, very much like the leading lady on the film. He gets involved with her and her problems and in no time is being accused of a crime.
Quilombo dos Palmares was a real-life democratic society, created in Brazil in the 17th century. This incredibly elaborate (and surprisingly little-known) film traces the origins of Quilombo, which began as a community of freed slaves. The colony becomes a safe harbor for other outcasts of the world, including Indians and Jews. Ganga Zumba (Toni Tornado) becomes president of Quilombo, the first freely elected leader in the Western Hemisphere. Naturally, the ruling Portuguese want to subjugate Zumba and his followers, but the Quilombians are ready for their would-be oppressors. The end of this Brave New World is not pleasant, but the followers of Zumba and his ideals take to the hills, where they honor his memory to this day. Writer/director Carlos Diegues takes every available opportunity to compare the rise and fall of Quilombo with the state of affairs in modern-day Brazil.
In this highly stylized Brazilian drama a sax player fondly remembers one wonderful night spent with his life's love and decides to find her again. He embarks upon a quest through the wild streets of Rio to find her. Along the way he meets an assortment of odd urban underworld characters.
Fausta is a survivor who dreams of building a house on land she's buying on the installment plan. Meanwhile she lives in a one-room tin-roofed hovel with her idle husband, João, and she works as a maid. Through it all she's a scourge, arguing, jeering and being jeered, but also displaying the spirit and energy of her idol, Tina Turner.
Ana combines straight-on documentary technique with unexpected flights of dreamlike surrealism. The title character, played by Ana Maria Martins Guerra, is a young Portuguese girl who lives with her grandmother. Through their relationship, we are witness to the Cycle of Life: Grandmother takes care of granddaughter until granddaughter is obliged to do same for grandmother. The scenes between the two protagonists are counterpointed with impressionistic camera compositions based upon famous religious paintings. Ana was impressive enough to earn an American art-house release, a rarity for independently produced Portuguese films.
Set four years after the Portuguese revolution and the simultaneous loss of the Portuguese empire in Africa, the story concerns a director who sells guns to finance his play.
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