Looking for movies, shows, games, or books similar to Enredando as pessoas? Check out these recommendations on mosaic.
A man who is tormented by his intuitions and by dreams goes away to find answers to his discomfort. Revelations are made to him along his path, until he meets his soul mate and is prepared to the Blue Desert.
After living in the United States for decades, Brazilian geographer Camila decides to return to her native state of Minas Gerais when a mining-related environmental disaster strikes the area. A dam burst, destroying several villages with heavily polluted wastewater from an iron ore mine. In this documentary road movie, Camila shows how mining has shaped the state’s history.
Girassol Vermelho is a film inspired by Murilo Rubião, a master of Brazilian magical realism, about the journey of Romeu, a man who leaves his past behind in search of freedom. By chance, he arrives in a strange city where an oppressive and pathetic system, which does not allow for questioning, drags him into a series of interrogations and tortures. In this absurd world, Romeo realizes that he has lost his greatest value: freedom. Full of pain and fury, Romeu, delirious, embarks on a new and even stranger journey.
Barravento Novo depicts correspondences between Antônio Pitanga—a Cinema Novo actor seen here delivering lines from Glauber Rocha’s first feature, Barravento, from 1962—and his daughter, Camila Pitanga, a well-known actor and filmmaker working today.
In this haunting work, Santos creates an elegiac mood that suggests both intimacy and loss. Based on a poem by Sandra Penna, which was inspired by a children's song about a couple who has broken up, this tape overturns the sunny idealism and rhymes typically found in children's songs. Contradictory feelings, imperfect remembrances and the inaccuracy of time are suggested by the poignant collage of home movies, voiceover, and music.
Lies & Humiliations is a haunting and lyrical work that merges poetic language and Super-8 images to invoke memory and its ghosts. Infused with an almost ethereal light, images of a house evoke its past — an old-fashioned kitchen and dining room, an ancient roof. Visions that recall childhood memories are superimposed like apparitions onto images of the present. Spoken in voiceover, a Carlos Drumond de Andrade poem, LIQUIDACAO/Special Sale, becomes a denunciatory litany that emphasizes the past's inability to cope with the future: "The house was sold, with/All its remembrances/All its furniture/All its nightmares/All its committed sins/Or those about to be..."
Santos constructs a lyrical meditation on his native Brazilian landscape, its culture and its inhabitants. Santos pays tribute to two important historical figures from Brazilian cinema — Humberto Mauro and Mario Peixoto — and their films The Ox-cart and The Limit. Contemporary footage, recorded in Death Valley and in Janauba, a town in the artist's native state of Minas Gerais, describes landscapes that appear to be untouched by time. In contrast, the reality of their inhabitants suggests an idealized, yet never realized, future.
Combining artfully designed sets and digital processing, Santos recreates the historic Apollo lunar landing for this essayistic video, which uses simulation to interrogate representation. Relating a long-circulated rumor that the landing was actually faked in a NASA film studio — an opinion reputedly held by cosmonaut Yuri Gagarin, among others — Santos delicately negotiates the increasingly blurry line between fact and fiction. As he notes in his on-screen text, the coming of the Internet makes any purported fact "easy to say, hard to prove."
When Prince Ahmad is blinded and cast out of Bagdad by the nefarious Jaffar, he joins forces with the scrappy thief Abu to win back his royal place, as well as the heart of a beautiful princess.