Santamaria and Urtigo are two bandits on the run, one is white, the other black. Santamaria is a mystical visionary and believes in the imminent coming of a purifying angel. Urtiga, his inseparable companion, is a simple-minded and ingenious man who follows Santamaria around and participates in the crimes he commits. The two bandits take over a house after kidnapping its owner and his girlfriend.

The fictional encounter in Rio de Janeiro, Brazil (in the 30s) between popular songwriter Lamartine Babo and inconoclast poet and playwright Oswald de Andrade.

A Southern Colonel, his three sons, and a card shark embark on an odyssey through the Southwest carrying a coffin full of stolen money with which the Colonel plans to revive the Confederacy.

Upon learning that his rich dad is on the brink of bankruptcy, spoiled Vavá summons his friend Jandir with a plan to get some quick cash: they will blackmail an uncle of Vavá by taking compromising photos of his lover, Leda.

Bárbara, a French girl living in São Paulo, and two friends transform a small apartment into a luxury bordello, "The Palace of Angels", at first securing money and success, but...

Gertrudes (Norma Bengell) is a middle aged lady who rents two of the rooms in her spacious upper middle class apartment (breakfast and plenty of companionship included) to two youngish women: the sensual thirty-something Madalena, and the apparently tormented twenty-something Lucia. Madalena is realistic - a fun-loving, sexually active night owl - who contrasts with Lucia, a dreamer and somewhat of a substitute daughter for the lonely landlady Gertrudes.
This Brazilian drama chronicles the lives between three female roommates sharing an apartment in Vitoria, Brazil. Former music teacher Gertrudes is hiding from the world after her lover spurns her. Magdalena is a free spirit. By day she works in a mental hospital; at night she is out in search of men. Lucia is the third, and most troubled roommate. To get Gertrudes to mother her, Lucia pretends she is mentally ill. Her ploy works and she and the older woman frequently get involved in mother/daughter games.

Paulistano de meia-idade declara seu amor e ódio pela cidade de Sao Paulo. Por intermédio da atual amante, relembra os casos amorosos e as mulheres que passaram por sua vida.
São Paulo Association of Art Critics Awards
Year Result Award Category/Recipient(s)
1982 Won APCA Trophy Best Actress (Melhor Atriz)
Norma Bengell
Tied with Renée de Vielmond and Dina Sfat for Eros, O Deus do Amor (1981).
Best Actress (Melhor Atriz)
Renée de Vielmond
Tied with Norma Bengell and Dina Sfat for Eros, O Deus do Amor (1981).
Best Actress (Melhor Atriz)
Dina Sfat
Tied with Renée de Vielmond and Norma Bengell for Eros, O Deus do Amor (1981).
Best Director (Melhor Diretor)
Walter Hugo Khouri
Tied with Arnaldo Jabor for Eu Te Amo (1981).
Best Film (Melhor Filme)
Walter Hugo Khouri

Two friends take two prostitutes for a night of pleasure. But the night turns out to be frustrating for all involved, as much bitterness is revealed in their conversation and attitudes, uncovering their anguish and deeper feelings, and the emptiness of their lives.

巴西影史最佳超现实主义电影之一，与Joaquim Pedro de Andrade的《Macunaima》不相上下，更值得一提的是这么NB的无政府主义电影居然出自一个女导演之手，那个时代巴西的女导演还真不多见，Ana Carolina属于巴西新浪潮一代中的特例了，此片又是由我最爱的巴西女星Norma Bengell主演的。找这片已经很久了，今日终于拿到。。。：D


Anarchist film with surrealistic touches, fine actors and delightfully wacky dialog.A Weird and Surrealistic Dramatic Story.
Ana Carolina surprised everybody when, after many documentary shorts and a hit documentary feature about Brazilian dictator Getúlio Vargas, she jumped into anarchist, surrealist crazy drama/black comedy with her first fiction film "Mar de Rosas". A non-sequitur, iconoclast portrait of middle-class family life, her protagonist Betinha (Cristina Pereira, perfectly cast) is a sort of teenage Mafalda (Quino's comic book anti-heroine): rambunctious, naughty, irrepressible, eager to be evil. She's on the run with her mother Felicidade (Norma Bengell, returning to Brazilian films after a long sojourn in European cinema and theater), who has killed husband Sergio (Hugo Carvana) in a hotel bathroom. Betinha and Felicidade are followed by suspicious character Bardi (Otávio Augusto) and, after terrible "accidents" -- Betinha sets fire on her mother at a gas station, Felicidade is hit by a bus while trying to escape from Bardi -- the 3 of them end up being "helped" by wacky couple Dirceu (Ary Fontoura) and Niobi (hilarious, wreck-voiced Myriam Muniz).
"Mar de Rosas" has some major lulls (especially toward the end) and is technically precarious, but the acting is inspired and, despite being ultimately a tragic film, you'll find yourself cracking with the loony dialog which is rather difficult to translate, as Ana Carolina uses a lot of Brazilian jeux de mots, adages and figures of speech in her trademark style of "free association". "Mar de Rosas" is refreshingly anti-cliché, and its critical and commercial success paved the way to Ana Carolina's very individual oeuvre that combines anti- conformism, feminism and social criticism with a delightful touch of surrealistic (black) humor.
The antagonism portrayed in this explosive black comedy makes a dysfunctional family seem like the Brady bunch. Director Ana Carolina has her leads play it straight, allowing the absurdity of their situations to speak for itself. Felicidade (Norma Benguel) has just slashed her husband with a razor blade in a violent argument, and she and her offensive daughter (Cristina Pereira) run away together. They are caught by Orlande (Otavio Augusto) who was sent out after them by the injured husband. Instead of bringing them back, Orlande takes off with them and a series of misadventures results. Long periods of dialogue are well-written and maintain interest in this maladjusted trio.

1962 film by Alberto Lattuada

After landing on a mysterious planet, a team of astronauts begin to turn on each other, swayed by the uncertain influence of the planet and its strange inhabitants.