The story of a civil servant who lives with his elderly mother. Falling in love with a corrupt politician's young and rich daughter, he abandons himself to crazy and...展开violent situations.
Although "Cinema Marginal" initiated from a rupture with Cinema Novo, the movements crossed paths and highly influenced each other, as we can see in Júlio Bressane's Face to Face (Cara a Cara, 1967), Glauber Rocha's Cancer (1968–72) and Paulo Cézar Saraceni's Love, Carnival and Dream (Amor, Carnaval e Sonhos, 1972).
Julio Bressane's films are always broadening our sensory experience; we are caught in a vortex of movement propelled by kinetic impulses from one body to another, from one image to another, from one sound or word to another. His films are like “inter-semiotic transactions” leading us through a poetic language that invites us to reminisce and transform. Some of the most exquisitely beautiful images of Brazilian cinema from the past ten years have come from Bressane's films: '30s singer Mario Reis (as personified by the extraordinary Fernando Eiras), lonely, naked, facing the camera in the final image of The Mandarin (O Mandarim, 1995); the first ten minutes of Miramar (1997), which displays Bressane's masterful framing and appropriation of classic Hollywood films; Nietzsche walking in a Turin café with the camera revealing a cornucopia of colours, mirrors and seductive chandeliers and alabasters in Days of Nietzsche in Turin (Dias de Nietzsche em Turim, 2001); or, in the same film, Fernando Eiras as Nietzsche, in a ritualistic, frenzied, Dionysian dance, with camera and body in perfect communion. Bressane has never been more in evidence than now with complete retrospectives of his work in Rio de Janeiro and Turin, and selections for the Cannes, Venice, Rotterdam and Locarno festivals.