1979 film by Oswaldo de Oliveira

Looking for a field of study in Parapsychology, three students and their professor discover a castle in which they evoke the spirit of Marquis De Sade.

1977 film by Silvio de Abreu

Eve is a jungle girl brought up by apes. She is captured with a number of apes by a mad scientist, conducting mind control experiments on them. Eventually she is liberated by a young explorer.

Karl Schiller thinks that he found a magical ring that has a great power, and it's located in the Dracula's castle. His brother Franz is a gambler and he wants to get this ring. Karl gives him a special amulet which can protect Franz from the vampires. He grabs the amulet and next night goes to vampire caslte. He was met by a strange countess, who invited him to dinner. And yes, that night his brother (who is actually his twin bro) also arrived in the castle. Suddenly, the realized that this night was the "Night of the Virgin Moon", which happens very rare. Today, due to the devil's ceremony, 5 virgin girls will be brought in the castle to become the sacrifice in this evil ritual. Can brothers protect each other and rescue these poor little girls?

During a flight, passengers confront their aspirations, frustrations, fears, wishes and fears, mixing up reality and fiction. Several characters board a plane: a soccer team, a football manager, a decrepit old man, a group of nuns and an advertinsing girl. Dreams, delusions, ideas and concrete situations related or not an individual to another. Archive scenes of war, famine and religious pilgrimages interleave to a mythical woman Nature. fiction, 35 mm, pb, 95 min, based on sequences in the chapter "O delírio" of "Memórias póstumas de Brás Cubas" de Machado de Assis. Fernando Cony Campos supported originality in artistic creation. He conceived it in terms of proposal, perspective, viewpoint, style, means and whatever could help form a distinctive vision. As personalities like Jean-Luc Godard or Glauber Rocha had emerged, it was up to the filmmaker to seek an alternate path to theirs, though he might fall short with the possible geniality of either. This proposition alone would enable us to bring him closer to the experimental sensitivity which would eventually explode at the end of the 60s. The contact points, however, exceeded the merely shared principles. Although largely a result of a poor, long, full of setbacks production, “Voyage to the End of the World” already had in the midst of its original design elements which distinguish it as one of the immediate precursors of “Udigrúdi”. Particularly, the overlapping of various levels of enunciation and of various forms of contemporary language gradually destroys the idea of a narrative, even a sophisticated narrative as the one presented by the New Cinema directors. Furthermore, if the ideological universe of the film still enables its inclusion in the group of the New Cinema, there’s a refusal to purely and simply condemn the means (or media), as they are away from mass culture. Counterculture may be alienated, but it is expressive in its constituents and particularly indicative of a state of things. Political disillusionment coexists with the chaos of the inevitable transformation. Not surprisingly does the work develop from the casual meeting of a pocket book of “Posthumous Memoirs of Brás Cubas” at a newsstand and continues incorporating fascism, consumption, mysticism, poverty... and, in an innovative, emblematic way, ”Tropicalism” (the film is full of that movement classics "Joy, joy", "Soy loco for ti America" and "Tropicália".) At some point, you hear a possible self-definition of the work: "The biggest error in this movie is you, you viewer. You’re in a hurry to grow old. And the film goes slowly. You love the direct, nourished narration. The regular, fluent style. And this film and my style are like cypresses which turn left and right, move and stop, mumble, bicker, laugh, threaten the sky, slip and fall. And they fall."