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Maurício de Miranda do Valle (Rio de Janeiro, March 1, 1928 — Rio de Janeiro, October 7, 1994) was a Brazilian actor.
His career in national cinema was marked by his partnership with filmmaker Glauber Rocha, with whom he worked on the films Deus e o Diabo na Terra do Sol (1963), Terra em Transe (1966), O Dragão da Maldade contra o Santo Guerreiro (1968) and The Age of the Earth (1980).
His career was marked by playing villains, rustic and powerful types, acting in both dramas and comedies.
"Portraits and excerpts from Brazilian films from all times. Actors, directors and images that affirm cinema."
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 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.
A public relations man is invited to guide an American millionaire during his stay in Rio de Janeiro. He gets involved in the most bizarre situations, from orgiastic mega-parties to confrontations with the police, meetings with drug dealers and movie stars, facing corruption and even murder.
Young women in the Amazon are kidnapped by a ring of devil-worshipers, who plan to sell them as sex slaves. Some of the women escape, but are pursued into the jungle by their captors. The women must band together to turn the tables on their kidnappers.
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.
Noronha is a low middle-class civil servant who lives with his frustrated wife Gorda and their three elder daughters. The youngest one, virginal Silene, is unexpectedly sent back home. Noronha discovers she has been expelled from boarding school for having killed a female cat and her seven newborns in a hysterical fit. Many dark family secrets will emerge from that episode leading to tragic events.
After separating from her abusive husband, Analu knows Fernanda, a lovely lady who offers her shelter. The friendship between the two turns into an intense love affair, but Fernanda shows possessive and violent. The situation worsens when her husband discovers her whereabouts Analu and starts chasing her. And even worse when Fernanda also rejected, decides to put an end to the life of the lover, without considering the consequences.
The dreams and problems of three friends: Malagueta, an inveterate gambler; Perus, former factory worker who abandoned the assembly line to earn his living at the billiards; and Bacanaço, trickster who puts on chic airs, always dreaming of performing the ultimate big swindle.
Fleeing from the orphanage where he was living, young Valdo immediately entered the life of the crime, establishing himself as a dangerous adult criminal. However, his petty thefts do not satisfy him and he longs for bigger things and when he becomes a lover of Beth, the young criminal realizes that he can enrich himself very and very fast.
This Brazilian film is set during the period of its initial colonial discovery and settlement. The title refers to a word the native peoples used for the coastal lands: "pindorama," or "place of the small trees." A ponderous and grandiose film, it was roundly booed when it was aired at the 1971 Cannes Film Festival.
A new incarnation of Cangaceiro bandits, led by Coirana, has risen in the badlands. A blind landowner hires Antônio to wipe out his old nemesis. Yet after besting Coirana and accompanying the dying man to his mountain hideout, Antônio is moved by the plight of the Cangaceiro’s followers. The troubled hitman turns revolutionary, his gun and machete aimed towards his former masters.
Eldorado, a fictitious country in America, is sparkling with the internal struggle for political power. In the eye of this social convulsion, the jaded journalist Paulo Martins opposes two equally corrupt political candidates: a pseudopopulist and a conservative. In this context, Paulo is torn between the madness of the elite and the blind submission of the masses. But, in this complex tropical reality, nothing really is what it seems to be.
Wanted for killing his boss, Manuel flees with his wife Rosa to the sertão, the barren landscape of Northern Brazil. Thrust into a primordial violent region, Manuel and Rosa come under the influence and control of a series of frightening figures.