Os Trapalhões was a Brazilian comedy group and also a Brazilian television series created by Wilton Franco. Its members were Dedé Santana, Zacarias, Mussum and their leader Didi Mocó, that was played by Renato Aragão. The name Trapalhões is derived from the Portuguese verb atrapalhar, which means the opposite of helping, to do something the wrong way or to Those that confuse. The name is translated "Tramps" in English DVD subtitles. It was aired by Rede Globo from 1977 to 1999. On March 18, 1990, Zacarias died due to respiratory failure, but the group and the series didn't come to an end until July 29, 1994, when Mussum died due to an unsuccessful heart transplant.

Cousins ​​Charlô and Otávio once had a romance, but today they detest each other. However, fate plays a trick on them: they will receive a large inheritance, on the condition that they live together.

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After his grandfather's death, André Cajarana goes to Rio de Janeiro to understand the death of his father—whom he had always believed to be a hero—and to try to prove his innocence.

Marked by the reputation of “son of the devil”, Zeca sees his life change when he falls in love with Maria Rita, Santinha. But the young woman's devotion and expectations about her destiny put the romance to the test.

Manoela is employed in the home of Donato, an employee at a cosmetics factory, and Carolina. After her boss's death, Carolina finds herself unprepared to deal with the serious financial difficulties and fires Manoela, who agrees to work for free, becoming a kind of guardian angel, advisor, and administrator of the house. To pay the mortgage on the property, she suggests that Carolina rent out two of the vacant rooms. The new tenants are four students who have recently arrived in Rio to take the university entrance exam. During their studies, the young men meet Marcelo, nicknamed Belo, who falls in love with Manoela. The relationship gives her the opportunity, for the first time, to forget about other people's problems and live her own life.

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No synopsis available yet.

Set in 1940s São Paulo, the story follows Laura, a modern woman devoted to the arts who is oppressed by her husband, Natércio Prado—a wealthy man with traditional views. Amidst marital turmoil, Laura suffers a severe trauma and is even committed to an asylum by her husband. The couple separates, and the family is torn apart: Laura keeps her youngest daughter, Virgínia, while Natércio retains custody of the other daughters, Otávia and Bruna. Frail and penniless, Laura moves into the Vila Mariana home of her neurologist, Daniel. He is in love with his patient and believes her condition is physical rather than mental. Laura hides the fact that Virgínia is actually Daniel's daughter. The youngest daughter eventually returns to live with her father, where she faces hostility and harshness from the housekeeper, Frau Herta.

To avenge his father's death, Otávio wants to take over a party catering business called "Marron Glacé," but ends up falling in love with Vanessa, the daughter of the current owner.

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After the death of her handsome but good-for-nothing husband Vadinho, Flor, a widow, marries Dr. Teodoro, a respectable gentleman. Hilarity ensues when Vadinho's spirit returns into her life.

In the 19th century, a country girl is seduced by a young doctor who's staying at her house for a few days, caring for her, and tries to hide the forbidden romance from her father, who disapproves of the relationship.

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In 1594 Brazil, a frenchman becomes a prisoner of the Tupinambás. While waiting to be executed, the foreigner learns the habits of the indigenous people and joins a woman who tries to help him escape.

Follows the decadence of an incestuous oligarch family in a rural Brazilian household through the years during the early 20th century.

Erotic comedy in five segments, starring the same actor, Chico Anysio: O Torneio (The Tournament), A Boca (The Mouth), O Filminho (The Short Film), A Suspeita (The Suspicion) and O Apartamento (The Apartment).

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Life and death of the jesuit who fought for the peaceful relationship between colonists and the indigenous peoples of Brazil.

The critical success in France of How Tasty Was My Little Frenchman made possible dos Santos’ delirious science-fiction vision of free love in a post-apocalyptic wilderness besieged by flesh hungry zombies contaminated by an unnamed nuclear attack. Who is Beta? follows two statuesque survivors drawn irresistibly together only to be entranced by the arrival and sudden disappearance of a third, the bewitching raven haired Beta. With its cartoon-like depiction of extreme violence and desire, Who is Beta? offers a heady Pop-infused companion to Hunger for Love. Yet beneath its giddy play of surfaces, dos Santos' underappreciated film gradually reveals a darkly ambiguous metaphoric dimension. -Harvard Film Archive