André Maciel, a young man who works in a photocopier shop, falls in love with his neighbour Sílvia, who works in a clothes shop. In order to get closer to her he decides to buy a dress he can’t afford. To pay for it he begins photocopying money, which quickly gets out of control. Once he realizes that he can get away with photocopying money, he decides to try it on a slightly larger scale. Even so, he realizes that the amount he can make by photocopying is limited and so he looks for better ways to get money. Being a guy with little education and a job as a copy machine operator, he decides that the only way out he has is to rob a bank somehow, so that he can run away with his sweetheart Silvia. The plot also has characters such as Marinês, Cardoso, Feitosa (the guy who is involved in all the illegal stuff), and his mother along with Silvia’s guardian / father, Antunes. The movie takes an unexpected twist when André, who does not really look like the kind of guy who could pull off a robbery, actually pulls it off and the next day he also finds out that he has won the lottery with the numbers ’ 1 2 3 4 5 6’. He does all the activities with the help of his friend Cardoso. Two people die in the movie and eventually, the movie goes on to tell us the truth behind all the incidents and how they were actually masterminded by Silvia. The movie ends with Silvia writing to the man she believes is her father and telling her about the journey she had undertaken to be in Rio, the place she meets Paulo, her father.—wikipedia
Based in Porto Alegre, filmmaker Jorge Furtado (b.1959) is a beloved figure in Brazil. His work displays amazing range, from coming-of-age stories to animated critiques of capitalism to playful historical recreation to bitter tales of racism in Brazil to shaggy dog stories to neo-noir. Even within a film, Furtado is able to cover a lot of ground, jumbling genres as joyfully as he mixes together characters from all parts of Porto Alegre’s eclectic citizenry. What ties it all together is Furtado’s unceasing interest in playing with the cinematic construction of time and narrative. He is a master at setting up expectations and then upending those expectations, or bypassing them entirely, in ways that are both witty and illuminating. One of his favored methods is the collage, betraying a syncretic impulse that ties him to other Brazilian exponents of the modern and the postmodern, from Carlos Drummond de Andrade to Tom Zé.
A first glance at Furtado’s work can miss the subtle ways… read more