The story of a famous Brazilian criminal, called The Red Light Bandit because he always used a red flashlight to break in the houses during the night. Working alone, he also used to rape his female victims.
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?
Fictionalized account of the adventures of hired gunman Antonio das Mortes, set against the real life last days of rural banditism. The movie follows Antonio as he witnesses the descent of ... See full summary »
Geraldo Del Rey,
The Caravana Rolidei rolls into town with the Gypsy Lord at the mike: he does magic tricks, the erotic Salomé dances, and the mute Swallow performs feats of strength. A young accordion ... See full summary »
The ironic, heartbreaking and acid "saga" of a spoiled tomato: from the plantation of a "Nisei" (Brazilian with Japanese origins); to a supermarket; to a consumer's kitchen to become sauce ... See full summary »
A trip to the mental institution hell. This odyssey is lived by Neto, a middle class teenager, who lives a normal life until his father sends him to a mental institution after finding drugs... See full summary »
The inhabitants of the Brazilian city of Contagem yearn for a better life. At the core of it all is Selma, a woman dreaming about the heart of the world: it could be anywhere, as long as it's a place where to feel happier.
HIstorical context: between the 1950s and 1980s, with industrialization, millions of Brazilians migrated from the impoverished, rural Northeast, to the big cities in the Southeast, specially Sao Paulo and Rio de Janeiro. They found diverse blue collar and menial jobs, suffered discrimination, but ultimately settled for a better life in the cities, even though they missed their roots, small town life, and the family values of their regions of origin.
The theme of the contrast between a dehumanisizing life in the big cities devoid of the humanity and the "authentiticy" of life in the countryside goes back to the ancient times, but became more common with the industrial revolution. After all, it is not only the city life that homogenizes people, but also the machine-like jobs they perform. The filmmaker here took this perennial motif and used a clever title, that became semi-proverbial in Brazil "The Man Who Became Juice". It refers simply to migrants from the poor, rural, Brazilian northeast, who come to Sao Paulo searching for a better living, and end up in the "dehumanizing" works in factories or construction. As the protagonist says, it is like an orange becoming orange juice.
The fact that the motif is not so original does not mean it is not cleverly treated. We expect the protagonist to be the one who "becomes juice", but his stubborn personality saves him from his fate. It is his highly obedient look-alike (the striking similarity is never explained) that suffers this fate. In the beginning, the protagonist's doppelganger is portrayed as evil, but in the end he becomes a tragic figure, and the protagonist, who is a skilled writer of "cordel" (narrative poems typical of the Brazilian Norheast) becomes his chronicler. It is fitting - and in my opinion intentional - that the "double" is named Severino, while the protagonist has a less usual name. As anyone in Brazil will tell you, Severino is the name of choice for someone who stands for all the Northeasterners.
Intentionally or not, the movie shows that not all is hopeless. There is an alternative to "becoming juice" or being crushed by the system. The protagonist is defiant and clever, and through a lot of struggles he walks the fine line between being a rebel who tells his employers where to shove their jobs and being an outright criminal. In the end he toes the line and is able to live from his art, which is what he intended. It is implied that this would be impossible in his famished home state.
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