The best Joel Barcellos’s movies
If you love cinema, you will share this ranking of the best Joel Barcellos’s movies, although you may have ordered them differently. In any case, we hope you love it and with a little luck discovering a movie that you still don’t know about Joel Barcellos.
The Conformist
7.9/10
A weak-willed Italian man becomes a fascist flunky who goes abroad to arrange the assassination of his old teacher, now a political dissident.
The Deceased
7.6/10
A woman who is obsessed with death wants a first-class burial for herself, and even buys a luxury coffin beforehand.
Rio Babilônia
5.3/10
A public relations man is invited to guide an American millionaire during his stay in Rio de Janeiro. He gets involved in the most bizarre situations, from orgiastic mega-parties to confrontations with the police, meetings with drug dealers and movie stars, facing corruption and even murder.
The Guns
7.6/10
A group of armed soldiers is sent to the Northeast of Brazil in an attempt to stop a famine-struck population from invading and stealing a food deposit in the dry backlands. While the alienation and insanity of people driven to hallucination by their latent hunger is conducted by the predictions of a religious figure, a truck driver observes the situation and remains torn between his friendship with the soldiers and his revolt against the lack of government action in fighting the misery that lingers over the region.
Sagarana, o Duelo
7.3/10
Unable to endure the idea that he would go without punishment, a criminal's victim chases him the length and breadth of Brazil for a showdown.
The Girl from Ipanema
7.2/10
Chronicles the life of a 17 year-old girl living in the upper-class Rio de Janeiro neighbourhood of Ipanema. Márcia lives a life of parties and spend her days among bohemians, musicians and intellectuals. While seeming happy in the outside, she's extremely anguished inside. Based on the famous song by Antonio Carlos Jobim and Vinicius de Moraes.
Luz Del Fuego
5.6/10
Biography of a Brazilian dancer who lived on an island and practiced nudism when it was forbidden by law.
O Homem Nu
6/10
O escritor Sílvio Proença precisa embarcar para São Paulo, a fim de divulgar seu novo livro. No aeroporto, encontra um grupo de velhos companheiros. Com o embarque cancelado devido à uma forte tempestade, o grupo segue para o apartamento de Marialva, filha de um dos amigos de Proença. Seduzido pela música e pelos encantos de Marialva, Proença passa a noite ali mesmo, onde desperta no dia seguinte, completamente nu. Ainda zonzo da ressaca, vai apanhar o pão deixado à porta do apartamento; é quando o vento fecha a porta e deixa-o nu do lado de fora.
Anchieta, José do Brasil
6.7/10
Life and death of the jesuit who fought for the peaceful relationship between colonists and the indigenous peoples of Brazil.
Viagem ao Fim do Mundo
7.3/10
During a flight, passengers confront their aspirations, frustrations, fears, wishes and fears, mixing up reality and fiction.
Neville D'Almeida: Chronicler of Beauty and Chaos
7.5/10
This film seeks to rescue the role of filmmaker Neville D'Almeida by using many rare images, numerous interviews, vast archival and audiovisual material.
The Secret of the Mummy
5.1/10
Laughed at when he announced the discovery of the elixer of life, Brazilian scientist Expedito Vitus ends up making the most important archaeological discovery of the century: the tomb of Runamb, the Mummy, in the sands of Egypt. Back in Brazil, he brings the Mummy back to life.
Rua Descalça
5.5/10
The Big City
6.9/10
Luzia arrives in Rio with the expectation of a new life. In the big city, she meets Jasão, her fiance, a former cowboy, who had left the Northeast. But he pretends not to recognize her and Luzia, alone, is forced to accept the protection of Calunga, an unconcerned man for whom life is a fascinating adventure without character or remorse. After using her, he leaves her in the hands of Ignácio, to whom she asks for temporary shelter. But a reunion with Jasão awakens love again.
Garden of War
7.1/10
Edson is having an affair with a left-wing aspiring movie director during Brazil's military dictatorship years. He tries to get some easy money for her film, but ends up being arrested and tortured as his torturers suspect he's involved in a plot to overthrow the militar government.
France société anonyme
5.2/10
In the year 2222, a former drug dealer is kept in a state of hibernation. Reanimated, he tells his story. Leader in the narcotics market, his situation was prosperous until, during a political change, the government legalized its use.
My Home Is Copacabana
7.1/10
Homeless children in the slums of Rio are driven out of their temporary shelters by ruthless gangsters in this somber drama. The kids survive by shining shoes, stealing, and cutting the strings of the kites to sell them later to others. Tired of life on the streets, one boy turns himself over to the police in hopes he will be sent to reform school in a last desperate attempt to survive. This feature from acclaimed Swedish director Arne Sucksdorff appeared at the 1965 Cannes Film Festival.
The Dare
7/10
Passively facing the repression imposed by military dictatorship in Brazil in the 60s, a journalist gets into a personal crisis, aggravated by his love affair with an industrialist's wife, who doesn't want to leave her home because of her son
O Picapau Amarelo
6.7/10
Aperana Street 52
6.8/10
In his film Rua Aperana 52 Júlio Bressane describes the invention of a landscape, the topology of a corner of Rio de Janeiro. The film consists of a series of photographs taken between 1909 and 1955 by, among others, Bressane's parents at and around the address used as a title. These are interlarded with scenes from films made between 1957 and 2005, bringing the total fictional time the film covers to almost a century; one hundred years in which the winding road featured in almost every shot structures the new landscape behind the Aperana, which means 'wrong road'. Rua Aperana 52 is autobiographical, as it is a landscape from Bressane's youth, but it is also not so; it is more a multi-subjective mythology of a place seen through all those films and photographs. Bressane refers to his editing as an intuitive form of thinking aimed at evoking moods which make the viewer the new witness of the fictional landscape. A fiction about a fiction,
