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Documentary on poor people living in a slum in Rio de Janeiro, on the occasion of New Year's Eve of 1999.
Eduardo Coutinho was filming a movie with the same name in the Northeast of Brazil, in 1964, when there came the military coup. He had to interrupt the project, and came back to it in 1981, looking for the same places and people, showing what had ocurred since then, and trying to gather a family whose patriarch, a political leader fighting for rights of country people, had been murdered.
A panorama of the Brazilian black experience, starting with the figure of the semi-illiterate popular artist and employee of a salt mine Gabriel Joaquim dos Santos.
Continuing the exploration of the thin line between truth and performance, Eduardo Coutinho turns his attention to the drama generated during rehearsals for the Galpão Theater Company’s performance of Chekov’s The Three Sisters. As he shoots scenes from the play, Coutinho attempts to capture the very moment in which reality becomes fiction and vice versa—whether through the actors’ bodies and words or in backstage scenes of a performance that will exist only on film.
The daily lives and routine of 37 families living in a huge 12-story building in Copacabana, Rio de Janeiro: their drama, aspirations, intimate revelations, loneliness, dreams...
The documentary tracks 19 hours of broadcasting from several brazilian TV channels making live surfing between channels. The result was edited latter.
Film that includes three short films by different authors about love: "O pacto" by Eduardo Coutinho, "Terrible Night" by Rodolfo Kuhn, and "Magic World" by Helvio Soto.
In this documentary Coutinho examines the plight of the people who live off the waste of the Brazilian cities. These people make their living by scavenging the immense urban garbage dumps searching for whatever they can find to sell as well as whatever they can find to eat.
Simple, emotionally compelling documentary that delves into the songs that hold meaning in people's lives. It is composed of 18 sessions where the director engages his subjects in conversation about the song they picked. The end product is deeply personal stories about music and its intimate connection to memory, love, loss, self-discovery, regret, death, and life.
Following a newspaper ad, ordinary women tell part of their life stories to director Eduardo Coutinho, which are then re-enacted by actresses, blurring the barriers between truth, fiction and interpretation.