Tande Bressane

Beatriz Dourado, a young black woman marked by abandonment, searches for answers about her past and discovers that her mother, Clarice, left her to pursue her career in Rio de Janeiro. With devastating revelations and a new love, Beatriz faces adversity and transforms her pain into power, fighting to conquer her place in the world.

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When her husband is killed in a land grabbing attempt, Aline takes charge of cultivating his land and protecting his family. Facing the powerful Antonio La Selva, responsible for the death of her husband and the largest landowner in the region, Aline is determined to keep possession of her land and invest in its production. However, she didn't expect that she would fall in love with Daniel, son of her rival, who is at odds with his rebellious half-brother, Caio, who, in turn, also falls in love with the girl. In the interior of Brazil, Aline will have to fight two battles: the dispute for her lands and for her heart.

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After spending ten years wrongfully imprisoned for the death of his girlfriend Elisa, the illusionist Davi returns to the farm that belongs to his girlfriend’s family under another identity and discovers that her younger sister, Isadora, has become exactly like Elisa. The two fall madly in love, but they will have to fight against nasty Joaquim and other external factors that threaten this great passion.

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Heartbreak forever changed the fate of the young and humble José Alfredo. Years later, he became the Lord Alfredo, a successful owner of a jewelry empire and a man obsessed with power. Temperamental and cunning, he tries to balance his turbulent marriage, an extramarital love affair, and the dispute between his children over succession in his business. One day, however, the unexpected appearance of a possible daughter, of whom he was unaware, causes upheaval in his life and takes his familial conflicts to a whole new level.

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Frustrated in their relationships, Claudia and Vicente meet on a trip to Colombia. Chance sparks a great friendship between them, but a kiss puts their future in jeopardy.

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In the 1930s, in Passaperto, the powerful Cândida controls the family until the arrival of Laura, considered a miracle, who awakens passions and rivalries that will change everyone's destinies.

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Malhação is a Brazilian television series for the teenage audience. The soap started in 1995, and was set in a fictional Gym Club called Malhação on Barra da Tijuca, Rio de Janeiro. Through the years the location varied slightly. Although the name of the soap remains the same, it is now set in the Múltipla Escolha High School.

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We see the film, not the cinema; cinema remains hidden within the film. Cinema is the Phantom of the Opera. A movement and a moment of transition, the Phantom fades away with each opera. It disappears and then reemerges in another, and another, and another, and yet another opera.

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Story with some autobiographical touches taken from director's life.

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The history of Brazilian popular music in the 20th Century, focusing specially on the life and works of intriguing singer Mário Reis, a loner who, with his special way of singing - whispering and softly saying the words - in a time when singers with potent voices ruled, was in a way a forerunner of Bossa Nova style.

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Based upon the life story of Father Antonio Vieira, born in Lisbon in 1608 and deceased in Salvador, Bahia, in 1697. He's considered the first Brazilian writer and one of the most important aesthete of linguistic and of the Portuguese language of all times, a master in the art of metaphor, of verbal relations and analogy. He was persecuted and condemned by the Portuguese Court of Inquisition due to his position against native slavery, against the intolerance to the Jewish people and to the colonial politics of exploration.

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We see the film, not the cinema; cinema remains hidden within the film. Cinema is the Phantom of the Opera. A movement and a moment of transition, the Phantom fades away with each opera. It disappears and then reemerges in another, and another, and another, and yet another opera.

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Two women, long-time friends, embark on a love story. They are writers who do not write to publish but for themselves. Their mutual conversation, their desires, the risks and phantoms of existence, the privilege of the wounded and of condemnation, traverse their speech, are a confession.

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“If you had to choose between me and your mother, who would it be?” Capitu asks provocatively of her problematic lover. Elsewhere, they dance to inaudible music with their friends, each couple keeping to a rhythm of their own. At times, this depiction of the memories we see one Dom Casmurro commit to paper with a flamboyant pen seems to be an interplay of conflicting emotions – particularly when jealousy raises its head. Adapted from the Brazilian classic novel 'Dom Casmurro' (1899) by Machado de Assis as an ironic/philosophical essay on poetry and jealousy, and featuring fragments of Bressane’s previous works.

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For this behemoth, Bressane took his opera omnia and edited it in an order that first adheres to historical chronology but soon starts to move backwards and forward. The various pasts – the 60s, the 80s, the 2000s – comment on each other in a way that sheds light on Bressane’s themes and obsessions, which become increasingly apparent and finally, a whole idea of cinema reveals itself to the curious and patient viewer. Will Bressane, from now on, rework The Long Voyage of the Yellow Bus when he makes another film? Is this his latest beginning? Why not, for the eternally young master maverick seems to embark on a maiden voyage with each and every new film!

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