José Celso Martinez Corrêa

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23 years in the making, “Pereio, Eu Te Odeio!” is a documentary on legendary Brazilian actor Paulo Cesar Pereio, an irreverent and controversial artist and public figure, as told by the testimonies of friends, family, and society members who hate him.

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Em Cena – A Arte da Interpretação is a documentary series that deconstructs the actor's craft, revealing the creative process of the biggest names in theater, film, and television through the journey of preparing for a role.

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It portrays the work of Carlos Filho, Cafi, a photographer from Recife, who for more than 40 years has dedicated himself to recording a large part of the events of dance, theater and Brazilian popular music. Recordings, concerts, tours and rehearsals by important artists passed through Cafi's lens.

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Twenty years after his debut as an actor, Brazil's sweetheart Reynaldo Gianechini meets his mentor, legendary director José Celso Martinez Corrêa for a first reading of Plato's Phaedrus.

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In six decades, Teatro Oficina has done more than revolutionize theatrical language in the country: the aesthetic influence of José Celso Martinez Corrêa's company extends from Tropicalism to the renewal of Brazilian audiovisual languages ​​from the 1960s onwards. The film revisits a story that it involves personalities such as Caetano Veloso, Glauber Rocha, Lina Bo Bardi, Chico Buarque and Zé do Caixão, brings together scenic art, ecology, architecture and sexuality, and mixes art and life in the search for a Brazilian based language.

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Silvio Tendler goes through his life remembering the movements he was part of during the brazilian dictatorship and his adherence to socialism.

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In 1979, while Brazil was going through the troubled moment of the Amnesty Law, Glauber Rocha directed the program Abertura for TV Tupi, in which he interrogated a contradictory and boiling Brazil head-on, full of utopias but always under the weight of secular wounds.

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Horacio, an old smuggler hiding from the law, lives in a surreal, baroque apartment with Petulia, his daughter, and Milton, his favorite thug. While he keeps his daughter locked up in her bedroom, Horácio flirts with his goon, for whom he has had repressed feelings for years. However, Milton's love for a mysterious woman, and Petula's attempts to free herself with the help of a former lover, clash with Horacio's tyrannical whims.

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How Do You See Me? is a Brazilian documentary feature that entwines both experienced actors and beginners to explore the hardships and the happiness that are inherent to the job when detached from the glam and glitz of the gossip industry, creating a diverse and comprehensive mosaic of what it means to be an actor in Brazil, a country so full of contradictions. The film brings forward a reality that the masses usually don't get to know: the men and women moved by a deep passion for acting and touching people. With Julio Adrião, Matheus Nachtergaele, José Celso Martinez, Cássia Kis, Nanda Costa, Babu Santana, Luciano Vidigal and Letícia Sabatella, among others.

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A portrait of the evolution of theater in the 20th century and a deep reflection on the art of acting through the career of Paulo Autran (1922-2007), one of the greatest actors in Brazil.

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Based on Oswald de Andrade's Anthropophagous Manifesto, Macumba was a hit with the audience that participated and interacted more with the work at each presentation.

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Documentary on Rosamaria Murtinho and Mauro Mendonça’s 60-year long career in Brazilian theater, film and television. The film not only runs through the career of these artists, but also paints a portrait of a generation that rose alongside them and that works with art till this day.

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This documentary investigates the aesthetic, political and existential trajectory of emblematic Black Brazilian actor Antônio Pitanga. His career spans over five decades, and he has worked with iconic Brazilian filmmakers Glauber Rocha, Cacá Diegues and Walter Lima Jr. He was a prominent figurehead and outspoken activist during the Brazilian dictatorship, a period of unrest in Brazilian cinema. "Pitanga" deep dives into the world of Antônio and the history of Brazil. The documentary was directed by his daughter Camila Pitanga, one of widely recognised faces in Brazilian television and cinema right now. The film is also a poem, and a tender ode to fatherhood.

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Young directors are filming “The Exhibitionist” in the middle of a farm in a paradise-like region. The film poetically investigates the Brazilian soul, with the Amazon as the center of the world, reflecting on existential issues, the right to sexual freedom and individuality.

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From the testimonies of Zé Celso himself, and excerpts from the play "Walmor Y Cacilda 64 - Robogolpe", which contains autobiographical elements, as well as from essays and scenes from older pieces by him, it is possible to know a little more about the life of the irreverent author. Playwright, director, actor and musician, Zé Celso began his career in amateur theater while still a student at the end of the 1950s. He "ate" the work of Oswald de Andrade and as an anthropophage, was one of Tropicália's founders.

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A document of one of the greatest cultural events of Latin America in an innovative way, the film mixes documentary and fiction to pay homage to the artists of the contemporary Brazilian theater, who come together in the city of São Paulo every year to celebrate the coming of the spring. The fictional storyline shows the shooting of the documentary which is directed by a foreigner director and his Brazilian second-rate crew. They join forces to make a successful film based on the event.

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Set against the turbulent atmosphere of the 1960s, Tropicália is a feature length documentary exploring the Brazilian artistic movement known as Tropicália, and the struggle its artists endured to protect their right to freely express revolutionary thought against the traditional Brazilian music of that time.

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A deep dive into the life and work of Brazilian actress Maria Alice Vergueiro. The documentary explores her turbulent beginning in the theatrical world, highlighting her strength and courage during the Military dictatorship in Brazil, which culminated in the foundation of the Teatro do Ornitorrinco.

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A film that mixes labyrinthine recent testimonies and historical images of the career of the tropicalista director, actor and playwright Zé Celso, of Teatro Oficina, one of the greatest personalities of the Brazilian arts of all time. The documentary acquired its main verb in four trips to key points in the trajectory of Zé: Bahia badlands, Cururipe Beach in Alagoas (where Bishop Sardinha was devoured), Epidaurus and Athens in Greece and his apartment in São Paulo.

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A cosmic-semantic coincidence. Ze, Theater, Workshop. Zé Celso Martinez Corrêa, director of Teat (r) o Oficina Uzyna Uzona, from São Paulo. Zé Perdiz, a mechanic from Brasília whose workshop is transformed into a theater. Parallel lives. Cinematic encounter.

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The crossing of generations under the influence of military dictatorship and political openness. Documentary highlights the role of the organizers of the March for the Family with God for Freedom in 1964. Based on stories of life under the military dictatorship, stories and reflections of people who had a significant participation in that period, whether for or against the coup.

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A journey in the history of the Brazilian songbook with a look at the relationship between poetry and music, sewing testimonials of great names of our culture, musical performances and amazing research of images.

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The pages of the artist Judith Malina's diary, imprisoned by the military dictatorship during the season of the Living Theater group in Brazil. The documentary chronicles the visit of the actress and her theatrical company to the country.

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The film chronicles both the life and work of Brazilian author and engineer Euclides da Cunha and a failed attempt at directing his biopic in the 1980s and 1990s. Footage from the unfinished film is included alongside archive and documentary material.

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Released from the Mental Health Wing of São Paulo State Penitentiary after forty years, the sadistic undertaker Zé do Caixão is back on the streets, haunted by ghostly visions and spirits of past victims but still set upon the goal that sent him to prison in the first place: finding a woman who can give him the perfect child.

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Documentary on "Antonio das Mortes", Glauber Rocha's 1969 film.

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This film shines a light at the story of Jards Macalé, polemic artist and controversial character of Brazilian culture over the last four decades. Author of songs such as "Vapor Barato" and "Movimento dos Barcos", a partner in crime of poet Waly Salomão, guitar player and songwriter for Gal Costa and Caetano Veloso, actor and author of soundtracks in Nelson Pereira dos Santos' films, a personal friend of visual artists Lygia Clarke and Hélio Oiticica, but, first and foremost, someone who dreams of seeing the word "love" in the Brazilian flag.

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A modern love story set in Sao Paulo about Heitor, a writer and literature professor, and Julia, a theatre student turned veterinarian. A fight over the telephone propels Heitor into a journey through the chaotic city streets to reconcile with Julia. Their personal history unfolds against the backdrop of the city and its people in a series of events representing the struggle between poetry and science.

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The film has Gal's career as its guiding principle, drawing a parallel with the movement of which the singer was the muse and one of the main interpreters, and reaching the present day.

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Weatherman from a TV network goes back to his hometown, Vale da Rocha, a place in Northeast Brazil, devastated by the drought. He is forced to face the geographic elements and his own memories.

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Dedicated to "all the power of the Un-massacre of Art and to the effects of the Trans-Human power of the Crowd," the staging of the last part of the book deals with the fourth and last expedition by the Brazilian National Army to the Northeastern "sertão." 12 thousand soldiers, cannons, and modern weapons where deployed, together with modern strategists such as Marshal Bittencourt who, for the first time in the history of the Brazilian Army, established an operational base away from the front, from where he commanded the maneuvers that General Arthur Oscar and his deputy, the blood-thirsty General Barbosa, executed. The play shows the end of the War of Canudos, which resulted in the massacre of the sertanejos, the death of Antônio Conselheiro himself (who went to meet God), and the destruction of the citadel.

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From 2000 to 2007, Teat(r)o Oficina Uzyna Uzona worked on the staging of Euclides da Cunha's epic book, Os Sertões, which describes the 19th Century War of Canudos in the Brazilian "sertão," lead by Antônio Conselheiro. The final result was a pentalogy of plays. This forth play deals with the cause of the war, when a judge from Juazeiro stopped a shipment of wood that was paid for from being delivered for the construction of the New Church of Canudos. Three expeditions were sent by the National Army and defeated, the last one commanded by the famous Colonel Moreira César. The Army faced the humiliation of soldiers deserting and running away, and the impaling of Colonel Tamarindo. He ended up being the main character in a macabre installation on the road to Canudos, created by the Jagunços (thugs from the sertão) and the Mandrakes to intimidate new expeditions.

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Dedicated to "the creation of an heroic and anti-heroic attitude of those that go to war and say: Farewell Man!," the theatrical version of the second movement of the second part of Os Sertões presents the passage from the re-volted man to the trans-man, creator of an alternate possibility for human adventure on Earth. From the story of Antônio Conselheiro, all theater relives its seminal death: a common man who, out of love, transmutes into an anti-messianic leader, gathering a legion of "sertanejos," roots of solidarity in the inlands of Bahia who, in a community effort, raise dams, churchs, and cemiteries. The community had at one point 25 thousand inhabitants, in its days the second largest city of Bahia. Capuchin Friars attempted to disperse the people of Canudos "diplomatically." Their denial to obey the official religious order led the Evangelist Friar to damn the followers of Antônio Conselheiro in the name of Jesus. The City prepares for war.

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The second play, O Homem I, is about the vigorous embrace of the winner, the Celtic European Colonizer, copulating with the defeated, with the slaves from the ships, forming the "Typeless-Brazilian" type. Mixtures of all kinds find their space in the stage in the surprising miscegenation already present in the cast and crew of Teatro Oficina itself. It is the story of the Brazilian Man, the Man of the Country abroad interbreeding with the Country inside, until the Revolt against the very idea—imposed and imported—of man, with the appearance of Zarathustra Antônio Conselheiro.

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Boca de Ouro was born in a back room of a dance hall, and his first crib was a bathroom sink where his mother left him. The boy grows up and becomes a feared and respected bookie—an almost mythological figure in the community where he lives. Fascinated by the story of the recently deceased criminal, journalist Caveirinha seeks out the criminal's ex-lover, D. Guigui, to gather material for an article. Her accounts of Boca reflect her emotional state.

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While waiting for directions, two revolutionaries hide in a church, where they meet a woman who wants to have a son with one of them.

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