Twenty Years Later

After escaping from a religious colony in Chile, Maria seeks shelter in a mansion where she’s taken in by two pigs, its only inhabitants. Like in a stop-motion dream, the universe of the house reacts to her feelings. The animals slowly morph into humans and the house into a dark, menacing world.

This Surrealist film, with a title referencing the Communist Manifesto, strings together short incidents based on the life of director Luis Buñuel. Presented as chance encounters, these loosely related, intersecting situations, all without a consistent protagonist, reach from the 19th century to the 1970s. Touching briefly on subjects such as execution, pedophilia, incest, and sex, the film features an array of characters, including a sick father and incompetent police officers.

10-year-old Pixote endures torture, degradation, and corruption at a local youth detention center where two of its members are murdered by policemen who frame Lilica, a 17-year-old trans hustler. Pixote helps Lilica and three other boys escape and they start to make their living by a life of crime which only escalates to more violence and death.

A boy is left alone in a Jewish neighborhood in the year of 1970, where both world cup and dictatorship happen in Brazil.

In this wildly entertaining vision of one of the twentieth century’s greatest artists, Bob Dylan is surrounded by teen fans, gets into heated philosophical jousts with journalists, and kicks back with fellow musicians Joan Baez, Donovan, and Alan Price.

Zé is a very poor man whose most prized possession is his donkey. When his donkey falls terminally ill, Zé makes a promise to Saint Bárbara: If his donkey recovers, he will carry a cross - like Jesus - all the way from his city to Saint Bárbara's church, in the state capital. Upon the recovery of his donkey, Zé leaves on his journey. He makes it to the church, but the priest refuses to accept the cross once he discovers the context of Zé's promise.

The strange friendship between two men of opposite social classes. Miguel is a senator. His childhood friend Jorge is a major drug-dealer. In the 1970s, they meet in prison: Miguel was there for political reasons, and Jorge, as a common criminal.

"Master" is the name of a 12-story apartment building in Copacabana, Rio de Janeiro's neighborhood for nightlife. Over the course of four weeks in 2001, Eduardo Coutinho's film crew rented one of the 276 apartments and used it as home base to make a film about the building's residents. We get to know the building manager, who succeeded in turning the troubled residence into a family complex within just a few years. Using interviews and a few stolen moments in the corridors of the building, Coutinho explores this world. Most of the building's residents come from the lower middle class and are just getting by, but that's just about the only thing they have in common - so many people, so many stories, sometimes told in a self-confident tone, sometimes with averted eyes. The fact that a film crew is interested in their stories puzzles some of them. Hope, fear, dreams, memories, love and loneliness all appear from behind the doors of this average apartment building.