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Wanted for killing his boss, Manuel flees with his wife Rosa to the sertão, the barren landscape of Northern Brazil. Thrust into a primordial violent region, Manuel and Rosa come under the influence and control of a series of frightening figures.
Eldorado, a fictitious country in America, is sparkling with the internal struggle for political power. In the eye of this social convulsion, the jaded journalist Paulo Martins opposes two equally corrupt political candidates: a pseudopopulist and a conservative. In this context, Paulo is torn between the madness of the elite and the blind submission of the masses. But, in this complex tropical reality, nothing really is what it seems to be.
A new incarnation of Cangaceiro bandits, led by Coirana, has risen in the badlands. A blind landowner hires Antônio to wipe out his old nemesis. Yet after besting Coirana and accompanying the dying man to his mountain hideout, Antônio is moved by the plight of the Cangaceiro’s followers. The troubled hitman turns revolutionary, his gun and machete aimed towards his former masters.
Drawing inspiration from a poem penned by Castro Alves, this film vividly captures the political, cultural, and intellectual climate of Brazil during the late 1970s. At its core, the story revolves around four distinctive embodiments of Christ's image: a black man, a soldier, an Indian, and a guerrilla fighter. These courageous individuals, hailed as the harbingers of doom in the tupiniquim lands, valiantly combat the insatiable avarice and oppressive "civilizing" brutality propagated by the formidable John Brahms—a foreign exploiter devoid of morals.
In a castle, somewhere in the Thirld World, Diaz is delirious, dreaming of the power he had in Eldorado, while oppressing the indians, workers and peasants. He is well aware of the menace his old victims represent, while a miracle-making shepherd fascinates and frightens him. Diaz finds a countrywoman, symbol of purity, and prepares a ceremony in his castle resembling his own funeral.
In Bahia, an educated black man returns to his home fishing village to try and free people from mysticism, in particular the Candomblé religion, which he considers a factor of political and social oppression, with tragic outcome.
The naive sailor Ron arrives in Bahia to visit the famous Água dos Meninos street market. There, however, he is passed behind by the prostitute Maria, lover of the bandit Chico Diabo, who stabs him. He, however, can't forget her.
Film directors with hand-held cameras went to the streets of Lisbon from April 25 to May 1, 1974, registering interviews and political events of the Portuguese "Carnation Revolution", as that period would be later known.
A man and a woman are laying on a chess-like patio. Both are trying to reach each other in the best way they can. However, for some odd reason they don't get on their feet, they don't talk to each other, and the only sounds heard are voices coming from a radio and strange sounds that seem to indicate something's about to happen.
The film, created in exile from 1971 to 1973 between Cuba and Rome, is considered a "semi-finished" work by Glauber Rocha. It has a certain pedagogical character and seeks, through dialectical editing, to conduct a critical review of colonization, class struggle, messianism, and the establishment of populist governments in the Third World. There is a chronology in the events presented, which, supported by extensive iconography (films, engravings, photos, etc.), create "free" associations that allow the viewer a "polyphonic" view of the "History of Brazil."