Viola Chinesa 1975    star_border 5.4
The rare short film presents a curious dialogue between filmmaker Julio Bressane and actor Grande Otelo, where, in a mixture of decorated and improvised text, we discover a little manifesto to the Brazilian experimental cinema. Also called "Belair's last film," Chinese Viola reveals the first partnership between photographer Walter Carvalho and Bressane.

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O Monstro Caraíba 1975

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Memoirs of a Strangler of Blondes 1971    star_border 8.5
First film by Julio Bressane shot in exile, "Memoirs" is a film about a man who repeatedly kills the same type of woman in same places, the same way. Filmed on the streets of London.

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A Familia do Barulho 1970    star_border 6
A dysfunctional family, composed of a prostitute and two gay men, one strong and the other fragile and stupid, lives a routine life in Rio de Janeiro. When the slut threatens the other two to stop supporting them, they decide to find an odalisque as an alternative to keep their easy life.

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No Way, Spider 1970    star_border 6.2
Spider, a banker, lives with three women. This tycoon is a caricature of Brazil's bourgeoisie, his trajectory is the starting point for an essay on the mental underdevelopment of Brazilian elites, in which black humor sets the tone for sharp criticism.

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Carnaval na Lama 1970
Rogério Sganzerla’s lost film. The only existing copy was lost in 1992 and the negatives are lost. It tells about the history of Betty Bomba, an exhibitionist woman.

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Copacabana Mon Amour 1970    star_border 7.1
Sônia and her homosexual brother are both believed by their mother to be possessed by the devil. She works as a prostitute in the streets of Copacabana and he’s a servant who falls madly in love with his employer.

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Watch Out, Madame 1970    star_border 6
Two maids decide to rebel against the society that oppresses them and start murdering their own mistresses.

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Baron Olavo, The Horrible 1969    star_border 4.8
Bressane’s first color film, shot in the home of the artist Elyseu Visconti. Part of it is missing sound and final editing because the director was forced to leave Brazil. Horror and humor to deal with the subject of insanity: “In the end everyone leaves the house as though they were laboratory mice escaping, they invade the city and contaminate the world”. “If we talk about horror, this film deals with national horror, with Mojica Marins as an emblem. There might be a few touches of Corman and English horror, but it is another level of horror. What transformed the film was the location where we were shooting, the house of a 19th century painter, a receptacle of light. When I arrived and saw that house, that light, I said: ‘This is the film. This is the horror’. The meaning of the film, its appeal, derives from this laboratory of light” (J. Bressane). — Torino Film Festival

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