Suzana de Moraes
1940 - 2015Pan-Cinema Permanente
Carlos Nader
Waly Salomão, Caetano Veloso
Documentary about Brazilian poet Waly Salomão, for whom life was always a fictional film and poetry was a way to expose any naturalistic pretension. His convictions affected many friends like Antonio Cícero, Caetano Veloso and the film's director Carlos Nader, who shoot Waly for 15 years. But how does one do a documentary about someone who believes everything is fiction?
Permanent Pan-Cinema
O Amor Natural
Heddy Honigmann
Joanna Fomm, Sérgio Viotti
O AMOR NATURAL is a documentary film about the erotic poetry of one of the greatest Latin American poets of the 20th century, the Brazilian Carlos Drummond de Andrade (1902-1987). The erotic poems of Carlos Drummond de Andrade, a household name in Brazil, remained unpublished during his lifetime, as he feared they would be deemed pornographic. In this celebration of his poetry and sensual vision, elderly residents of Rio read his poems and comment on their graphic, voluptuous imagery with tremendous candor and enthusiasm.
O Amor Natural
Bethânia Bem de Perto: A Propósito de um Show
Júlio Bressane, Eduardo Escorel
Maria Bethânia, Caetano Veloso
Documentary about Maria Bethânia, at the very beginning of her career as a singer, when she arrived in Rio da Bahia to replace Nara Leão in the show Opinião. Bethânia's appearance, at that time in southern Rio, was a cultural shock that shook the city. The film also contains scenes of her daily life and meetings with other musicians.
Bethânia Bem de Perto: A Propósito de um Show
Perfume de Gardênia
Guilherme de Almeida Prado
Christiane Torloni, José Mayer
Driver who was left by his wife, who wanted to try a career in the movies, has to deal with their son's revolt when the latter finds his mother, whom he thought dead, singing in a nightclub.
Scent of Gardenias
Pedro Diabo Ama Rosa Meia Noite
Miguel Faria Jr.
Paulo César Peréio, Suzana de Moraes
Unhappy with what he'd got from life, Pedro Diabo becomes a dread outlaw, whom the police is looking for. In his life of crime, he has the love and support of a strange woman, Rosa Meia-Noite, chorus girl who likes to wear rich costumes in Carnival Balls.
Pedro Diabo Loves Rosa Meia Noite
Cuidado Madame
Júlio Bressane
Maria Gladys, Helena Ignez
Two maids decide to rebel against the society that oppresses them and start murdering their own mistresses. “𝘛𝘩𝘦 𝘵𝘩𝘦𝘮𝘦 𝘪𝘴 𝘵𝘩𝘦 𝘳𝘦𝘷𝘰𝘭𝘵 𝘰𝘧 𝘵𝘩𝘦 𝘴𝘭𝘢𝘷𝘦𝘴, 𝘵𝘩𝘦 𝘳𝘦𝘱𝘳𝘦𝘴𝘴𝘦𝘥 𝘸𝘩𝘰 𝘣𝘦𝘤𝘢𝘶𝘴𝘦 𝘵𝘩𝘦𝘺 𝘩𝘢𝘷𝘦 𝘯𝘰 𝘸𝘢𝘺 𝘰𝘶𝘵 𝘥𝘦𝘤𝘪𝘥𝘦 𝘵𝘰 𝘵𝘶𝘳𝘯 𝘵𝘦𝘯 𝘰𝘳 𝘵𝘸𝘦𝘯𝘵𝘺 𝘥𝘢𝘺𝘴 𝘪𝘯𝘵𝘰 𝘢𝘯 𝘦𝘵𝘦𝘳𝘯𝘪𝘵𝘺. 𝘚𝘰 𝘵𝘩𝘦𝘺 𝘬𝘪𝘭𝘭 𝘵𝘩𝘦𝘪𝘳 𝘮𝘢𝘴𝘵𝘦𝘳𝘴. 𝘛𝘩𝘦𝘺 𝘸𝘪𝘭𝘭 𝘤𝘦𝘳𝘵𝘢𝘪𝘯𝘭𝘺 𝘥𝘪𝘦, 𝘣𝘶𝘵 𝘵𝘩𝘢𝘵 𝘴𝘱𝘢𝘤𝘦 𝘰𝘧 𝘧𝘳𝘦𝘦𝘥𝘰𝘮, 𝘦𝘷𝘦𝘯 𝘪𝘧 𝘪𝘵 𝘰𝘯𝘭𝘺 𝘭𝘢𝘴𝘵𝘴 𝘢 𝘸𝘦𝘦𝘬, 𝘧𝘰𝘳 𝘵𝘩𝘦𝘮 𝘪𝘴 𝘢𝘯 𝘦𝘵𝘦𝘳𝘯𝘪𝘵𝘺.”
Watch Out, Madame
O Homem do Pau-Brasil
Joaquim Pedro de Andrade
Ítala Nandi, Flávio Galvão
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.
The Brazilwood Man
O Lobisomem: O Terror da Meia-Noite
Elyseu Visconti
Suzana de Moraes, Wilson Grey
A millionaire lives in a sinister cottage where strange events unfold. A damned creature, he transforms himself in a werewolf and leads a following whose adepts spread horror and despair in the neighboring city, becoming themselves a clan of assassins. One day, the werewolf confronts Branca Justiça (White Justice), who summons benign forces to scathe them and frees him of his own wickedness.
The Werewolf: A Midnight Terror
Pecado Mortal
Miguel Faria Jr.
Fernanda Montenegro, José Lewgoy
The eccentric members of a wealthy Brazilian family each go through personal torment, debauchery and intense guilt in this symbolic and gory film. The father has made a fortune in the slaughterhouse business and ignores the feelings of his wife and his workers. He frequents a mulatto woman, who is always seen naked. His daughter and her friend act on their lesbian fantasies before her friend marries her brother. An elderly aunt seduces the brother before she drowns herself in the swimming pool. His lesbian sister shoots the girl, and the boy incestuously attacks his mother. When the mother threatens to leave, the father begs for her to stay and continue the hollow charade of their marriage for the sake of social appearances. The father grovels before his mistress after his daughter slashes her wrists. Any comparison between this dysfunctional family, the Manson family, and Shelley Winters' sick Barker brood in Bloody Mama is all an unfortunate artistic coincidence.
Mortal Sin
