The best Lima Duarte’s movies

The lively Jack the Cricket and the sly Chicó are poor guys living in the hinterland who cheat a bunch of people in a small in Northeastern Brazil. When they die, they have to be judged by Christ, the Devil and the Virgin Mary before they are admitted to paradise.

The story of Francisco, a very simple and poor man whose dream was to see his children become country music stars, and who made all the efforts to make it happen.

"The Baron" wanted to commit the perfect heist involving 3 tons of money and no violence. For this he would need the right people willing to get 1 million dollars to take part in this job. Based on true events, in 2005, 168,000,000 Brazilian Real (almost 80,000,000 US dollars) were stolen from a Brazilian Central Bank (Federal Reserve), making it the biggest peace-time robbery in history. It was perhaps the most audacious bank heist ever.

Theo is living the good life in an upscale Brazilian neighborhood. He’s a hardworking doctor, husband, and father. However, Theo has chosen his career over his family, and little by little he discovers that his world is crumbling around him. His beloved mentor and surrogate father is dying, and his wife announces that she wants a divorce. Yet nothing prepares him for the day when he comes home to discover that his 15-year-old son, Pedro, has disappeared. Theo takes to the road in search of his son. In a journey that leads him throughout Brazil, Theo discovers what really matters to him. Searching for his missing son, Theo finds himself.

"Kilas" (a Portuguese misrepresentation of the English word "killers") is the nickname of a petty con-man who gets involved with a deadly ring of spies.

A true story that comically depicts the relationship between an ordinary woman and her three husbands, who live in the same house in a poor and arid small village of the Brazilian northeast.

Small-town trickster Pedro Malasartes has to face two great enemies: Próspero, who will do anything to impede such a lazy, cowardly person like Malasartes from dating his sister, Áurea; and Death incarnated, who wants to take a vacation after two thousand years collecting lives and intends on tricking Malasartes into assuming his tedious job.

A road movie that shows the simple things in life in a poetic light through the eyes of three young people with Down syndrome, who love movies and work at the video library of the institution where they have always lived in. One day, inspired by the movie "Thelma & Louise", they decide to run away using the gardener's old car to have a freedom experience. They travel to uncommon places in search for three simple wishes: Stalone wants to see the sea, Aninha looks for a husband and Marcio needs to fly. During this search, they embark on several adventures as if life was just a children's play

Luciano, fresh out of jail, was taken by his brother, Flórido, to serve in the home of wealthy Alfreda. He was surprised when she told him that her greatest desire was to see the Virgin Mary. Now comes this rich land owner with her sublime pretensions. Isn't it enough for her to have an Aston Martin and a Jaguar in the garage and ten different dresses per season? It was all professor Heschel's fault. Or someone else's. Anyway, to go beyond the promise is heresy. Alfreda said that she wouldn't rest until she saw the Virgin and made her some questions. Filipe Quinta, the Forger, says he has a solution. Meanwhile, Bahia, her husband, listens do music.

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.

A small group of artists travels the Brazilian backlands presenting a show. Upon arriving in a small village, they find an abandoned city with houses, a church, and a fountain spouting clean water, like a miracle of a biblical desert. Tired of and battered by their life as wanderers, the artists decide to settle in the village and start a new community, assigning themselves different roles from those they have played throughout their lives. This new arrangement, however, will reveal these artists the worst vices of the civilian life.

1920s. Vitalino, a small farmer from São Vicente sees his father die of the epidemic which decimated the country. Some years later, of all the brothers, Vitalino is the strongest and takes his father’s place in the house. But the village is too small for his aspirations and he decides to head to Brazil, leaving his sisters in charge of the household. In parallel with Vitalino’s story, If I Were a Thief… I’d Steal portrays the world of Paulo Rocha rummaging through his films and ghosts over the years.

Augusto moves with his family to an abandoned farm, inherited from his grandfather, hoping to put his life back on track. The property, however, carries the karma of the betrayal of the slave Couraça who seeks revenge against Augusto's family.