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."

本剧集叙述的主要剧情内容：这部遭世界上大多数国家禁映的传记片真实地重现了50多年前露丝·台尔·富埃戈这个巴西“天体女神”的大半个传奇人生。
露丝·台尔·富埃戈Luz del Fuego，真名多拉·维瓦夸Dora Vivacqua，巴西职业舞蹈家、博物学家和世界著名的女权主义者，1917年2月21日出生于伊塔佩米林，1967年7月19日死于里约热内卢。
1944年，她以露丝·狄维娜Luz Divina（神之光）的艺名开始进入马戏团的表演，露丝·台尔·富埃戈这个阿根廷的姓名是她后来为了吸引南美观众而更改的。1950年及其之后的几年里，她给巴西带来了革命性的影响——她的表演以时而身缠蟒蛇的半裸出场；创立了巴西的第一个博物俱乐部“巴西自然俱乐部Clube Naturalista Brasileiro”；通过海军的特别授权将名为“塔普亚马Tapuama”的小岛更名为“太阳岛Ilha do Sol”，作为天体主义者的营地，使得巴西也拥有了第一家裸体俱乐部（如今，每年的2月21日，即露丝·台尔·富埃戈的生日，巴西都要举行庆祝“自然崇拜日”的活动）。不抽烟也不喝酒，素食和裸体主义的坚定信仰者露丝·台尔·富埃戈后来亦涉足政治，成立政党，但并不像1954年她开创巴西崇尚自然那样影响深远。1967年7月19日，露丝·台尔·富埃戈被谋杀，尸体被与石头捆绑沉入大海。

Jorginho, his white friend Rico, Lici and Paulinho are homeless best friends living in a slum in a hill in Copacabana. They spend their hopeless life playing with kite; trying to survive getting food from the street market or the fishermen; learning how to pickpocket; working on the streets polishing shoes. Rico escaped from an institution in Caxambu that symbolizes hell on Earth for them. When he gets ill, he decides to return to the place because he does not want to die on the streets.

巴西电影编剧、导演、制片人，新电影运动初期重要的代表人物。罗沙生于巴伊亚州维多利亚；德康给士塔市。1956年作为制片人拍摄了两部试验短片；也在报刊杂志发表影评。1957年，他作为德桑托斯的助理导演拍了《里约北区》。德桑托斯对罗沙的电影创作道路起了决定性的作用。1958年，罗沙退学执导了短片《院落》，1960年作为制片人拍摄了《盛大的展出》。1962年执导的短片《巴拉温托》在卡洛维发利国际电影节...

Laughed at when he announced the discovery of the elixer of life, a scientist Professor Expedito Vitus devotes himself to the reconstitution of a map which has been divided into eight parts. The owners of these parts are being mysteriously murdered. Thanks to this map, he ends up making the most important archaeological discovery of the century: the tomb of Runamb, the Mummy, in the sands of Egypt. Back in Brasil, the professor brings the Mummy back to life, who was actually a dangerous psychopathic murderer obsessed with the image of Nadja, the dancer who had turned him down.

Edson is having an affair with a left-wing aspiring movie director during Brazil's military dictatorship years. He tries to get some easy money for her film, but ends up being arrested and tortured as his torturers suspect he's involved in a plot to overthrow the military government.

Cropped hair, a rosemary branch behind the ear, yellow shirt of shiny satin, he's behind the wheel of his car when passing by a woman who walks by the roadside. Strongly painted lips, printed dress with round skirt and red shoes matching the color of the lipstick, she catches his attention. He gives her a ride, the two of them stare in silence for a few moments. They introduce themselves to one another and between the two establishes an absurd dialogue and full of metaphors. And they are driving around in corners of Rio de Janeiro, to the sound of Noel Rosa and Lamartine Babo. Eva and Antena, she a seer, he, an assassin on the run, initiate an unusual case of love, a marginal love, where boredom often gives way to tragedy, creating the agony of a holiday spent in an abyss.