José Jofre Soares (Palmeira dos Índios, 21 September 1918 – São Paulo, 19 August 1996) was a Brazilian actor and nautical officer. He is considered one of the great names in Brazilian cinema.
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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.
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"Portraits and excerpts from Brazilian films from all times. Actors, directors and images that affirm cinema."
A Lebanese photographer living in Brazil in the '30s manages to film the band of Lampião, a legendary Brazilian bandit.
This is a remake of Brazil's first international success in the cinema world. Just as its same name predecessor was, this film is a fictional version of the story of the "cangaceiros." These were bandits who sacked towns and spread terror throughout Northeastern Brazil in the 1930s. This group of outlaws is led by Captain Galdino and his wife Maria Bonita.
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Four directors tell stories related to the concept of happiness.
The cultural differences between the several generations of the rural maracatu: an afro-indigenous ritual which originated in the sugar mills of the state of Pernambuco.
After an extended period directing original screenplays, dos Santos returned to the creative engagement with literature that was the wellspring of his early masterpieces, offering a combinatory adaptation of five stories by the renowned Brazilian novelist João Guimarães Rosa. Openly embracing a mode of magical realism, dos Santos' celebrated film tells the story of a farming family defined by the absence of its father who abruptly abandoned his wife and children, sailing away down the river, including his son who continues to communicate with his father, speaking daily to him from the river bank. While offering an evocative vision of rural Brazil as a timeless land of mystery and solemnity, The Third Bank of the River is also bitingly satiric in the remarkable depiction of religious belief when the family moves to the city and its youngest member, a mesmerizing little girl, is revealed to be a kind of saint, capable of miraculous acts. -Harvard Film Archive
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