Born and raised in the misery of Brazilian slums, Jorge becomes a luxury house burglar in São Paulo and gets nicknamed "The Red Light Bandit" by the sensationalist press. In addition to wearing a red flashlight, he talks to his hostages in an irreverent tone and makes bold breakthroughs to later spend the money extravagantly. His world is the decadent neighbourhood of Boca do Lixo.

No synopsis available yet.

A psychiatrist experiments on four volunteers with LSD to examine '60s drug culture, soon unleashing an expert in depravity.

No synopsis available yet.

A discussion on Brazilian cinema, focusing on São Paulo's Boca do Lixo production pole.

No synopsis available yet.

An authentically marginal cinema created in Catholic university in Brazil. One of the most intriguing and imaginative moments in modern cinema in the voice of some of its select conspirators—with Carlos Reichenbach at the lead—, and through the most razing flow of images that can possibly be conceived.

No synopsis available yet.

A travelogue through the remains of São Paulo failing 80s economy, including its in ruins film industry.

Using a mixture of film clips and interviews with Ozualdo Candeias himself the film tells the director's 40 year trajectory.

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A countryman kills his father and heads for the big city. On his way, he meets the most bizarre and allegorical types: a robber, a drag queen who thinks he's Carmen Miranda, a black king, a fallen black angel, a priest, two whores, a pregnant cowboy, among others.

Pyroclastic flows (also known as a pyroclastic cloud or pyroclastic wave) are the devastating result of some volcanic eruptions. They are fluid bodies, composed of hot gas and pyroclasts (gray and stone) that can travel at speeds of up to 160 km per hour. In this case, the eruption is Cinema Marginal and the pyroclastic flows are called Ozualdo R. Candeias.

No synopsis available yet.

No synopsis available yet.

Edmundo Scivano returns to his hometown after years of failure in his political career. Discredited, he seeks the support of his countrymen to get his life back on track, but finds only contempt and disappointment in his path. Dissatisfied and angry, Scivano decides, insanely, to make a pact with the devil to obtain power and wealth to plot his revenge.

In 1968, Candeias made five short films shot by him in the South American countries of Argentina, Paraguay, Bolivia, Colombia and Venezuela. The films were lost for over two decades before being found in 1992. After discovery the shorts were packaged together in this film.

Ozualdo Candeias was a grumpy truck driver. He never lost the verve of this strange form of freedom, trapped in the cab and facing the varied itineraries of the world. Among the many jobs he held, he was also that of a filmmaker in Boca do Lixo, at a time when making films lacked pride and friends. He had both in abundance. His complexity can now be revisited in a process of image and sound collages, guided by a frank and reflective conversation, recorded at the end of 1997, about the cinema of yesterday, but also about today.