The film, created in exile from 1971 to 1973 between Cuba and Rome, is considered a "semi-finished" work by Glauber Rocha. It has a certain pedagogical character and seeks, through dialectical editing, to conduct a critical review of colonization, class struggle, messianism, and the establishment of populist governments in the Third World. There is a chronology in the events presented, which, supported by extensive iconography (films, engravings, photos, etc.), create "free" associations that allow the viewer a "polyphonic" view of the "History of Brazil."

《七首雄狮》是格劳贝尔.罗查最复杂难懂的影片，全片充满了超现实主义的场景和画面，象征主义的电影语言和梦幻般的具有复杂寓意的神秘世界。

巴西电影大师Glauber Rocha在1968年拍摄的圣保罗街头大游行,青年人的反抗独裁暴乱,导致了上百的人死伤,当时作为导演兼新闻记者的罗查与好友巴西著名摄影师Affonso Beato走上街头,用16mm摄影机记录下了那令人震撼的时刻,影片并没有录制声音.

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...

This film shows people with constant psychological and social conflicts: the violence among outlaws, conflicts between man and woman, police and society.

In a castle, somewhere in the Thirld World, Diaz is delirious, dreaming of the power he had in Eldorado, while oppressing the indians, workers and peasants. He is well aware of the menace his old victims represent, while a miracle-making shepherd fascinates and frightens him. Diaz finds a countrywoman, symbol of purity, and prepares a ceremony in his castle resembling his own funeral. The shepherd kills him and releases the woman.

《天井》是巴西电影大师罗恰独立拍摄的第一部作品，13分钟无对话的先锋短片，剧中只有两个角色在巴伊亚州海边一处黑白棋盘状的庭院里进行表演。影片的主题比较抽象其实我也没看太懂，似乎是在借棋子的位置和演员的动作隐喻男人与女人之间的关系。尽管如此，影片还是初步展现出了罗恰以后电影中的一些主要特征，比如将大自然作为一个电影角色，还有对空间及周围环境的独特处理等。 格劳贝尔-罗恰1938年5月生于巴伊亚州的维多利亚市，9岁时随父母移居到首府萨尔瓦多，进入一家著名的教会学校学习。16岁时开始写电影评论，58年成为“巴伊亚日报”的专栏记者，同年执导处女作《天井》，次年拍摄的短片《广场的十字架》也得到了各方赞誉。之后他放弃学了一年多的法律专业，开始了自己的导演、电影理论和评论家生涯。62年他的第一部长片《变幻的风》在卡罗维发利国际电影节上拿到水晶球奖。 From:

In Bahia, an educated black man returns to his home fishing village to try and free people from mysticism, in particular the Candomblé religion, which he considers a factor of political and social oppression, with tragic outcome.

巴西电影导演罗恰只身深入亚马逊丛林，用极具个人风格的影像记录下巴西民族的母亲之河的美景和沿岸土著人的生活景象。 An ordered film, a classical documentary about the beauties and the natural wealth of the Amazon region. We can consider typically glauberian: the lyric ravishment of the takes, and the well characteristic insistence on the nationalistic and progressive concerns of the director, with the concrete presence of the image of working people, the urban sequences, and of the product, the merchandise. Glauber Rocha was commissioned to film the beauties of Amazonia. The result is very "Glauberian" in the lyrical treatment of the shots. In 1966, while he was waiting for the beginning of his new motion picture, Glauber Rocha produced two short length documentaries as follows: "Amazonas, Amazonas" and "Maranhao 66"; the plot of the last one referring to the entrance into office of the then Governor Jose Sarney. The next film, "Terra em Transe" got also distinction and prizes of the international review. Before his third long-length motion picture, he had a new experience, "Cancer"; and then, with the film "O Dragao da Maldade Contra o Santo Guerreiro" he got the prize of the best motion picture director of Cannes Festival, in 1969.

1966 film by Glauber Rocha

Wanted for killing his boss, Manuel flees with his wife Rosa to the sertão, the barren landscape of Northern Brazil. Thrust into a primordial violent region, Manuel and Rosa come under the influence and control of a series of frightening figures.

A new incarnation of Cangaceiro bandits, led by Coirana, has risen in the badlands. A blind landowner hires Antônio to wipe out his old nemesis. Yet after besting Coirana and accompanying the dying man to his mountain hideout, Antônio is moved by the plight of the Cangaceiro’s followers. The troubled hitman turns revolutionary, his gun and machete aimed towards his former masters.

Drawing inspiration from a poem penned by Castro Alves, this film vividly captures the political, cultural, and intellectual climate of Brazil during the late 1970s. At its core, the story revolves around four distinctive embodiments of Christ's image: a black man, a soldier, an Indian, and a guerrilla fighter. These courageous individuals, hailed as the harbingers of doom in the tupiniquim lands, valiantly combat the insatiable avarice and oppressive "civilizing" brutality propagated by the formidable John Brahms—a foreign exploiter devoid of morals.

Eldorado, a fictitious country in America, is sparkling with the internal struggle for political power. In the eye of this social convulsion, the jaded journalist Paulo Martins opposes two equally corrupt political candidates: a pseudopopulist and a conservative. In this context, Paulo is torn between the madness of the elite and the blind submission of the masses. But, in this complex tropical reality, nothing really is what it seems to be.