Paulo Porto

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Monica, a naive schoolgirl from a suburb of Rio de Janeiro, meets Virginia, a former neighbor, now living in Copacabana. Influenced by her, she decides to take on a double life: in the morning she is the suburban girl, in the afternoon she attends a brothel in the South Zone. One day she meets Flávio, a friend and eventual lover of Virginia. Flávio falls in love with the purity of Monica and wants to drive away her friends, for considering Virginia a bad company for her beloved.

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When Daniela, a famous actress, decides to return to her hometown to reconnect with a simpler lifestyle, local politicians decide to exploit her influence in order to get ambiguous deeds done.

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Marcelo and Márcia, a successful couple, have different social backgrounds. She's always been rich and attached to tradition, while her husband hasn't. One day he leaves for another city, Angra dos Reis, where he meets two girls, Lena and Tânia. Marcelo and Lena get involved, while Tânia is jealous. One night the three go to a party, where a tragic accident happens.

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On the eve of her wedding, Glorinha finds herself looking back at her life and confronting the injustices, sexual perversions, adultery and crimes that are hidden under the happy bourgeoise facade.

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A rich man encounters a prostitute and gets confused about the nature of his feelings for her. He can't decide between attraction and repulsion.

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Old couple are being evicted and turn to their five children for help. Since no one can accommodate the two of them, the children decide to separate the couple.

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Pra Quem Fica, Tchau tells the story of a teenager from the interior who comes to Rio, financed by an uncle, and goes to live with a womanizer cousin.

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A comedy about the happiness of several people who won the number 12 of Sports Lottery, thinking they are the only winner. Among them, one priest seduced by the devil disguised as a sacristan, one taxi driver who is planning to buy an entire fleet of cars, and prostitutes who leave their brothel, only to return again later.

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Jorge, an ambitious journalist, marries into money and betrays colleagues to become a powerful politician during political turmoil in 1946 Brazil.

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A statuette bought in an antique shop in Tokyo may lead to the discovery of a great treasure.

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A young woman from a conservative family loses her virginity to her boyfriend who dumps her after. She starts a new relationship, but when her parents find out she has been "ruined" they try to arrange a marriage with the first boyfriend.

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Young congressman Miguel Horta represents a party that is directly opposed to the present government. He slyly switches parties in order to gain favor with those in power, seriously compromising his own ideals and ethics in the process.

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An extended research tour of US university film programs introduced dos Santos to the American avant-garde filmmakers, among them Jonas Mekas and Stan Brakhage, who would directly inspire his formally radical adaptation of an allegorical short story about adultery and colonialism by Guilherme de Figueiredo. Filmed in both Manhattan and Brazil and set against the background of the Vietnam War and its protests, Hunger for Love uses a rigorously abstract soundtrack and narrative structure to evoke the acute paranoia of the period building up to the December 1968 military coup that tipped Brazil perilously close to a conservative dictatorship. With its harsh critique of the decadent tendencies of the Sixties counterculture, Hunger for Love offers a key expression of the self-consciously “ideological” phase of Cinema Novo. -Harvard Film Archive

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The story narrates the sorrows and misfortunes of Father Tião, who lives in a small town in the interior.

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The telenovela narrates the romance between Carolina and Augusto in 19th-century Rio de Janeiro. As a child, Augusto swore eternal love to a girl, without knowing her name. Years pass, but the young man is unable to become involved with any other woman, earning him a reputation as a great womanizer among his medical school classmates. During a weekend in Paquetá, however, Augusto meets Carolina and falls in love with her, unaware that she is his childhood sweetheart. The plot also shows a group of young people who, amidst parties and passions, become involved in campaigns for the liberation of slaves.

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Paulo works as a journalist for a print publication and is a man of many women. He has a long-standing affair with a wealthy married woman and also begins a new relationship with Luísa, a young call girl who is his client.

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Reconstruction of the historical episode of the Inconfidência Mineira (Minas Conspiracy).

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A rich man encounters a prostitute and gets confused about the nature of his feelings for her. He can't decide between attraction and repulsion.

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Old couple are being evicted and turn to their five children for help. Since no one can accommodate the two of them, the children decide to separate the couple.

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Pra Quem Fica, Tchau tells the story of a teenager from the interior who comes to Rio, financed by an uncle, and goes to live with a womanizer cousin.

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A young woman from a conservative family loses her virginity to her boyfriend who dumps her after. She starts a new relationship, but when her parents find out she has been "ruined" they try to arrange a marriage with the first boyfriend.

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An extended research tour of US university film programs introduced dos Santos to the American avant-garde filmmakers, among them Jonas Mekas and Stan Brakhage, who would directly inspire his formally radical adaptation of an allegorical short story about adultery and colonialism by Guilherme de Figueiredo. Filmed in both Manhattan and Brazil and set against the background of the Vietnam War and its protests, Hunger for Love uses a rigorously abstract soundtrack and narrative structure to evoke the acute paranoia of the period building up to the December 1968 military coup that tipped Brazil perilously close to a conservative dictatorship. With its harsh critique of the decadent tendencies of the Sixties counterculture, Hunger for Love offers a key expression of the self-consciously “ideological” phase of Cinema Novo. -Harvard Film Archive

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Paulo works as a journalist for a print publication and is a man of many women. He has a long-standing affair with a wealthy married woman and also begins a new relationship with Luísa, a young call girl who is his client.

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