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São Paulo, Sociedade Anônima (1965)

| Drama
A man lives in conflict as he deals with his friends and love interests against the backdrop of São Paulo.


Luiz Sérgio Person (as Luís Sérgio Person)


Luiz Sérgio Person (as Luís Sérgio Person)


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Credited cast:
Ana Esmeralda ... Hilda
Eva Wilma ... Luciana
Otelo Zeloni ... Arturo
Walmor Chagas ... Carlos
Darlene Glória Darlene Glória ... Ana
Rest of cast listed alphabetically:
Mário Audrá Mário Audrá ... (as Mário Aldrá)
Lenoir Bittencourt Lenoir Bittencourt
Victorio Bondiolli Victorio Bondiolli
Osmano Cardoso Osmano Cardoso
João Chalherani João Chalherani
Nadir Fernandes Nadir Fernandes
Etty Fraser Etty Fraser ... Neighbor
Marta Gonda Marta Gonda ... Arturo's daughter
Renato Gonda Renato Gonda ... Arturo's son
Ricardo Gonda Ricardo Gonda ... Arturo's son


In São Paulo, Carlos leaves his wife Luciana and his son seeking a new beginning of his life. While wandering through the streets of São Paulo, Carlos recalls the period between 1957 and 1961, when he was a twenty-five year-old employee of Volkswagen in the boom of the automobile industry in Brazil working in the Quality Control of the factory. He meets the supplier Arturo, the Italian immigrant owner of an auto parts, and he accepts his gears even with defects, receiving a commission in return. Meanwhile the easy Ana becomes his mistress, and later he has an affair with the romantic nihilist intellectual Hilda. When he meets bourgeois Ana in the English class, they date and later she becomes his fiancée and wife. Along the years, the rude Carlos loses his job in Volkswagen and becomes manager of Arturo's factory; he has an existential crisis, losing his identity and becoming part of the gear of the process of industrialization of São Paulo. Written by Claudio Carvalho, Rio de Janeiro, Brazil

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Plot Keywords:

brazil | sao paulo brazil | See All (2) »








Portuguese | English

Also Known As:

São Paulo S/A See more »

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Did You Know?


Official submission of Brazil to the 1966's Oscars in the best foreign language film category. See more »


At about 40 minutes in, there's a scene with a television in the background and a few people watching it. We hear the theme song from the US television series BEWITCHED, which aired from 1964 to 1972 -- after the timeframe of this film. Also, what's shown on the TV doesn't match the opening credits of the TV series. See more »


[first lines]
Luciana: Don't go away, Carlos. Don't go!
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Referenced in Person (2007) See more »

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User Reviews

Emptiness of desire
22 July 2014 | by chaos-rampantSee all my reviews

This is a film about a boorish and colorless man, his memoir of how life failed him. It starts with the end, a breakup that he walks away from, the bulk of the film is for us to see what kind of life is broken up, what dissolves, what is carried on.

It is from that time after Antonioni had taken Europe by storm, it uses all the visual arsenal. The camera is vibrant, it captures motion, change, perspective, dilation - a lovely scene takes place during New Years, the night erupts in bright lights as confetti rains from above. It misses the fundamental essence of Antonioni however, that narrative place is so parted to reveal currents of soul.

Along the way we have precious insights into Brazilian life of course. I've been lately on cinematic vacation in Brazil, watching films from there. Most take place in fanciful Rio, this is an exception; industrial Sao Paolo with no oceanfront to send the eye off in relief. It gives a sense of place, time, people, you should see it just to parse these.

But what kind of insight do we have into that life? It's compromised of course, there as well as any other place, unjust, occasionally just petty. But why should it be drab?

It is drab for the protagonist who colors everything through his own self, a thankless man always dissatisfied and tossed about by desires. He's not without conscience, which prevents him from not minding the compromise, but he's not mindful either, not settled in his view.

It ends in a poignant way that reveals the emptiness of this man. Disgusted, he abandons everything including son and wife and runs off, but life takes that turn of dumb chance that brings you back to what you wanted to avoid. What was he trying to run from? It's all inside him, carried wherever he goes. Did he ever once cultivate his intentions, his mindfulness for his own self or the women he bedded? Was he ever grateful for anything, appreciative?

It's a well made film but the same limitation applies for me as in similar ones; I don't see the modern tragedy, only the waste.

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