Luiz Rosemberg Filho

Following Alexander Taylor, a teacher in the slums of Kibuna, this is a reflection about the modern times, mixing social criticism and cinematic experimentation to reflect about the overconsumption of images, fake news and social media.

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The life and work of director Luiz Rosemberg Filho.

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Documentary about Waldemar Iglésias, a man living in Sorocaba, Brazil, who has been to the movies on a daily basis for 58 years. He talks about his childhood, his dreams, his favorite actors and actresses and the classic movies and cartoons.

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An accident at a construction site, resulting in one death, sets one worker off on a struggle for justice that exposes the mechanisms of exploitation and the class relations of a country that had undergone one decade of fast-paced ‘conservative modernisation’ at the hands of the military. As a sort of sequel to the classic The Guns (1964), following the fate of those characters as they move from enforcers of exploitation to exploited, it offers more than a snapshot of the period: the correspondent time lapses in fiction and reality capture the passage of a chunk of Brazilian history between the two films, and, therefore, also the transformations in cinematographic approaches to the social and political between the two moments. Equally daring in content and form, and in the originality of the adequacy of one to the other, it won the Silver Bear at Berlin.

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The story of a poor woman living in the backwoods of Brazil and working as a maid. One day she is unfairly fired from the house where she was working and goes to the big city, facing a cruel and hostile world, working in factories, bars and bordellos.

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An ambassador from an outer (and rich) space comes to visit a poor planet, where he ends up being kidnapped.

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This monologue is the last film by Brazilian underground filmmaker Luiz Rosemberg Filho.

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Two men roam the night of Rio de Janeiro with two prostitutes in search of pleasure and violence.

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In a world troubled between capital and hunger, free thinking about the importance of enjoyment and enjoyment as an act of resistance. No longer representation as a metaphor for the relationships sold by American cinema, but life lived as a metaphor for resistance to bad politics lived in the world.

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A soldier coming home after the Paraguay War meets a theater group. A shock between war and art.

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Questions about film language.

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A video essay by Luiz Rosemberg Filho on the standardization of beauty through mass media.

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Criticisms on TV and its bad influence over the urban man.

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Successful businessman, Paulo Chupadinha send his wife to a convent every year to really enjoy Brazil’s carnival. He meets a cabaret woman that wants to make a show in his little nd peaceful village. For that, however, she will have to seduce every important man of the city: the police chief, the priest and the mayor.

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After a life of richness, a conservative industrialist blames himself for abandoning his youth's left values. In existential misery, he keeps looking for a possible personal redemption after a foreign company buys his business. His life breaks into pieces.

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Without any sounds, dialogues and with unknown actors, the images are the focus of this film. Images that want to awake, to question determinant moments, state of a system's languages, the morality of deaths, the immobility, the silence, among other subjects. Shot at the height of the Brazilian military dictatorship, it is an affront to the most diverse types of repression in that period.

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An ambassador from an outer (and rich) space comes to visit a poor planet, where he ends up being kidnapped.

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