The third installment in the Coffin Joe Trilogy, The Awakening of the Beast, follows Coffin Joe’s sadistic experiments on four drug addicts who volunteer to take LSD. The experiments are intended to prove that drug use is related to sexual depravity. Director José Mojica Marins once again plays Coffin Joe, who sits with a panel of psychiatrists on a television show, using videos of the addicts as proof of the connection between drugs and lewd sexual behavior.
The day that Pier Paolo Pasolini was killed, Glauber Rocha decided to make this film about the life of Christ in the Third World. Starting from a dialectical synthesis between capitalism and socialism, and a search of interracial relationships in Brazil, Rocha created a work of religious and prophetic tone that results in a kind of bewilderment contemplative, now lyrical, now frantic, soaked in a new messianism. In his last film, the director proposed a tune of sounds and images that build a picture of Brazil and a portrait of himself.
Thieves hijack an aircraft loaded with diamonds, and then must face deadly Amazonian headhunters when the plane crashes in the jungles of Caxambu, Brazil.
Glauber Rocha films the funeral of his friend Di Cavalcanti, one of the most important Brazilian painters and artists of all time. The director/writer pays his tribute to Di by narrating an eloquent speech, referencing poets such as Augusto dos Anjos e Vinicius de Moraes, along with images of Cavalcanti’s work and the funeral as well – with the latter event being a spur of the moment to the director who rushed with his camera to the place when he heard the news.
A simple yet devout Christian makes a vow to Saint Barbara after she saves his donkey, but everyone he meets seems determined to misunderstand his intentions. Will he be able to keep his promise in the end?
Bressane created an imaginary encounter between three 20th-century geniuses, in which he portrayed the composer Lamartine Babo (a role by Caetano Veloso), the revolutionary author Oswald De Andrade and subversive reporter Joao Do Rio. Imaginative film comprises a mixture of erudite and popular elements.
In 1650, a group of Brazilian slaves revolt and escape from their sugar plantation to the depths of the jungle, where they join other runaways. Under the leadership of Ganga Bumba, the men are able to carve out a place to live, repelling attempts by their Portuguese masters to recapture them. The community is further strengthened by the return of Zumbi, kidnapped from them as a child, who comes back to command their military.
The story concerns a young man living at home, André, whose ideas are radically different from those of his farmer father. The father advocates order and restraint, which enhance his own power under the guise of family love. The son seeks freedom and pleasure, exemplified in his passion for his sister Ana. When André moves to a seedy boarding house, his older brother Pedro, is asked by their mother to bring him back. His return, however, will shatter the family’s insular life.