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The Best Jurandyr Ferreira Movies. Go to The Best Shows

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poster

67

57

6.9

/3944/

67

/129/

67

/141/

3.7

/16184/

78

/9/

62

/20/

52

/4/

After the death of her handsome but good-for-nothing husband Vadinho, Flor, a widow, marries Dr. Teodoro, a respectable gentleman. Hilarity ensues when Vadinho's spirit returns into her life.

poster

64

28

6.5

/1139/

67

/29/

67

/25/

3.3

/1308/

57

/11/

After being exiled for 26 years, Tieta returns to her native village in Bahia, bringing chaos and upheaving the local order.

poster

53

7

5.7

/244/

50

/6/

53

/10/

3.3

/411/

43

/1/

Six directors, six independent films, six visions on the state of the world. Each carrying a unique and personal interpretation of a specific experience, their crossover creates new space for a dynamic and radical inquisitive reflection.

poster

?

6.0

/9/

10

/1/

In a large house in Salvador lives a family: Hercules, Julia, two of the couple's nephews, Hercules' father-in-law, and two maids. Hercules is a farmer who is in a professional and marital crisis. The mystical figure of Calunga mysteriously appears in the big house. He causes deep transformations in the family. Calunga relates to the women of the house and shakes the established patriarchal structure.

poster

57

?

6.6

/112/

73

/3/

27

/3/

Paulo Otávio is the host of a pirate radio station on the slums of Rio de Janeiro. He struggles to mantain the station working, since the only help he's got comes from news reporter Calói. Their story goes beyond as the city starts to face a crime wave.

poster

?

60

/1/

A short contemporary story about the crew of a small Brazilian fishing boat. Part of the anthology The State of the World.

poster

70

?

7.5

/172/

66

/3/

67

/5/

3.7

/445/

An accident at a construction site, resulting in one death, sets one worker off on a struggle for justice that exposes the mechanisms of exploitation and the class relations of a country that had undergone one decade of fast-paced ‘conservative modernisation’ at the hands of the military. As a sort of sequel to the classic The Guns (1964), following the fate of those characters as they move from enforcers of exploitation to exploited, it offers more than a snapshot of the period: the correspondent time lapses in fiction and reality capture the passage of a chunk of Brazilian history between the two films, and, therefore, also the transformations in cinematographic approaches to the social and political between the two moments. Equally daring in content and form, and in the originality of the adequacy of one to the other, it won the Silver Bear at Berlin.

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