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Aninha, future poet and candy maker Cora Coralina, is a fragile and clumsy girl. She finds in the game of hopscotch a way to overcome her own limits and, in her imagination, an escape from the environment in which she lives. His childhood, marked by rejection, is remembered in his adult life for his affective and tragic connection with the blue pigeon dish, the last of a ninety-two-piece collection, by his great-grandmother Antônia.
Adrift in the vast expanse of the ocean, a solitary boat carries three castaways—a man and two women. Stranded and devoid of any glimmer of rescue, they find solace in recounting the tales of their lives to one another. As they delve into their personal narratives, reminiscing about the circumstances that led them to this desolate predicament, they navigate through the depths of three distinct destinies. Bound by the confines of their shared space, every aspect of their existence becomes a boundary, underscoring their plight.
On 17 May 1931, the young director Mário Peixoto released his masterpiece "Limite" in a premiere in Capitólio Theater in Rio de Janeiro to astonished audiences bewildered by the impressive and poetic images. Considered by many viewers the best Brazilian movie ever made, this feature has never been released commercially. However, in a great paradox, Mário Peixoto has never made any other movie. The director Sérgio Machado pays a great tribute to the life and work Mário Peixoto a.k.a. Maçarico by his close friends with this documentary, using his diary; footages of "Limite", the never concluded "Onde a Terra Acaba" (1933) and the short "O Homem do Morcego" (1980); and interesting testimonies of Olga Breno, Ruy Solberg, Nelson Pereira dos Santos and Walter Salles among others.
In 1930, the Brazilian filmmaker and poet Mario Peixoto produced a masterpiece of Brazilian film history, the two hour long silent film Limite, inspired by European expressionist and avant-garde cinema. In 2014, Joel Pizzini paid homage to the film, and in particular its filmmaker, by creating a film montage using images from Limite and additional documentary material of interviews from the 1970s and 1980s. Mario Peixoto never finished another film, even though he continued to work on diverse projects. Mar de Fogo also features a freely imagined new sequence for Peixoto’s next, but never completed film as envisaged by Joel Pizzini. He tries to invoke Peixoto’s vision while making Limite and to visually explore the feeling he had when he had the inspiration for the film.
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