José Celso Martinez Corrêa

Young directors are filming “The Exhibitionist” in the middle of a farm in a paradise-like region. The film poetically investigates the Brazilian soul, with the Amazon as the center of the world, reflecting on existential issues, the right to sexual freedom and individuality.

Set against the turbulent atmosphere of the 1960s, Tropicália is a feature length documentary exploring the Brazilian artistic movement known as Tropicália, and the struggle its artists endured to protect their right to freely express revolutionary thought against the traditional Brazilian music of that time.

This film shines a light at the story of Jards Macalé, polemic artist and controversial character of Brazilian culture over the last four decades. Author of songs such as "Vapor Barato" and "Movimento dos Barcos", a partner in crime of poet Waly Salomão, guitar player and songwriter for Gal Costa and Caetano Veloso, actor and author of soundtracks in Nelson Pereira dos Santos' films, a personal friend of visual artists Lygia Clarke and Hélio Oiticica, but, first and foremost, someone who dreams of seeing the word "love" in the Brazilian flag.

From the testimonies of Zé Celso himself, and excerpts from the play "Walmor Y Cacilda 64 - Robogolpe", which contains autobiographical elements, as well as from essays and scenes from older pieces by him, it is possible to know a little more about the life of the irreverent author. Playwright, director, actor and musician, Zé Celso began his career in amateur theater while still a student at the end of the 1950s. He "ate" the work of Oswald de Andrade and as an anthropophage, was one of Tropicália's founders.

No synopsis available yet.

A film that mixes labyrinthine recent testimonies and historical images of the career of the tropicalista director, actor and playwright Zé Celso, of Teatro Oficina, one of the greatest personalities of the Brazilian arts of all time. The documentary acquired its main verb in four trips to key points in the trajectory of Zé: Bahia badlands, Cururipe Beach in Alagoas (where Bishop Sardinha was devoured), Epidaurus and Athens in Greece and his apartment in São Paulo.

Horacio, an old smuggler hiding from the law, lives in a surreal, baroque apartment with Petulia, his daughter, and Milton, his favorite thug. While he keeps his daughter locked up in her bedroom, Horácio flirts with his goon, for whom he has had repressed feelings for years. However, Milton's love for a mysterious woman, and Petula's attempts to free herself with the help of a former lover, clash with Horacio's tyrannical whims.

A cosmic-semantic coincidence. Ze, Theater, Workshop. Zé Celso Martinez Corrêa, director of Teat (r) o Oficina Uzyna Uzona, from São Paulo. Zé Perdiz, a mechanic from Brasília whose workshop is transformed into a theater. Parallel lives. Cinematic encounter.

The crossing of generations under the influence of military dictatorship and political openness. Documentary highlights the role of the organizers of the March for the Family with God for Freedom in 1964. Based on stories of life under the military dictatorship, stories and reflections of people who had a significant participation in that period, whether for or against the coup.

Tropicália was a Brazilian cultural movement that occurred between 1967 and 1968, inspired by Oswald de Andrade's anthropophagic ideals, pop art and the concretism. Twenty years later, this film revisits the movement and shows that Tropicalismo will never die.

Released from the Mental Health Wing of São Paulo State Penitentiary after forty years, the sadistic undertaker Zé do Caixão is back on the streets, haunted by ghostly visions and spirits of past victims but still set upon the goal that sent him to prison in the first place: finding a woman who can give him the perfect child.

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Twenty years after his debut as an actor, Brazil's sweetheart Reynaldo Gianechini meets his mentor, legendary director José Celso Martinez Corrêa for a first reading of Plato's Phaedrus.

Documentary on Rosamaria Murtinho and Mauro Mendonça’s 60-year long career in Brazilian theater, film and television. The film not only runs through the career of these artists, but also paints a portrait of a generation that rose alongside them and that works with art till this day.

Weatherman from a TV network goes back to his hometown, Vale da Rocha, a place in Northeast Brazil, devastated by the drought. He is forced to face the geographic elements and his own memories.

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A portrait of the evolution of theater in the 20th century and a deep reflection on the art of acting through the career of Paulo Autran (1922-2007), one of the greatest actors in Brazil.

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A modern love story set in Sao Paulo about Heitor, a writer and literature professor, and Julia, a theatre student turned veterinarian. A fight over the telephone propels Heitor into a journey through the chaotic city streets to reconcile with Julia. Their personal history unfolds against the backdrop of the city and its people in a series of events representing the struggle between poetry and science.

From Italian set designer to Brazilian stage director, Gianni Ratto, born in Italy in 1916 and based in Brazil since 1954, retraces the geographical path of his life, accompanied by his daughter, passing through Genoa, Milan, Florence, São Paulo, and Rio de Janeiro, visiting places and people who marked his journey. At each encounter, Gianni speaks of his work and reveals the ideas of someone who not only executes but also thinks about theater from a humanist perspective.

In six decades, Teatro Oficina has done more than revolutionize theatrical language in the country: the aesthetic influence of José Celso Martinez Corrêa's company extends from Tropicalism to the renewal of Brazilian audiovisual languages ​​from the 1960s onwards. The film revisits a story that it involves personalities such as Caetano Veloso, Glauber Rocha, Lina Bo Bardi, Chico Buarque and Zé do Caixão, brings together scenic art, ecology, architecture and sexuality, and mixes art and life in the search for a Brazilian based language.

No synopsis available yet.

From 2000 to 2007, Teat(r)o Oficina Uzyna Uzona worked on the staging of Euclides da Cunha's epic book, Os Sertões, which describes the 19th Century War of Canudos in the Brazilian "sertão"(backlands). The result was the pentalogy of plays: A Terra (2002), O Homem I (2003), O Homem II (2003), A Luta I (2005), and A Luta II (2006). This first play is a carnival opera, the actors are the earth, the vegetation, the wind, the animals, the rivers, the drought. It reveals the most intimate secrets of nature, that also vibrate in the human and trans-human arteries. This work enriched by the experience that the subsequent works brought gains an updated insight into the human interference in the environment. Destructive power is proportional to financial power, and the discussion about the way space gets occupied was brought to the forefront, including the real-estate boom that surrounds today not only Teatro Oficina, but the whole world, now hotter and more arid.

No synopsis available yet.

Dedicated to "the creation of an heroic and anti-heroic attitude of those that go to war and say: Farewell Man!," the theatrical version of the second movement of the second part of Os Sertões presents the passage from the re-volted man to the trans-man, creator of an alternate possibility for human adventure on Earth. From the story of Antônio Conselheiro, all theater relives its seminal death: a common man who, out of love, transmutes into an anti-messianic leader, gathering a legion of "sertanejos," roots of solidarity in the inlands of Bahia who, in a community effort, raise dams, churchs, and cemiteries. The community had at one point 25 thousand inhabitants, in its days the second largest city of Bahia. Capuchin Friars attempted to disperse the people of Canudos "diplomatically." Their denial to obey the official religious order led the Evangelist Friar to damn the followers of Antônio Conselheiro in the name of Jesus. The City prepares for war.

Dedicated to "the creation of an heroic and anti-heroic attitude of those that go to war and say: Farewell Man!," the theatrical version of the second movement of the second part of Os Sertões presents the passage from the re-volted man to the trans-man, creator of an alternate possibility for human adventure on Earth. From the story of Antônio Conselheiro, all theater relives its seminal death: a common man who, out of love, transmutes into an anti-messianic leader, gathering a legion of "sertanejos," roots of solidarity in the inlands of Bahia who, in a community effort, raise dams, churchs, and cemiteries. The community had at one point 25 thousand inhabitants, in its days the second largest city of Bahia. Capuchin Friars attempted to disperse the people of Canudos "diplomatically." Their denial to obey the official religious order led the Evangelist Friar to damn the followers of Antônio Conselheiro in the name of Jesus. The City prepares for war.

Dedicated to "all the power of the Un-massacre of Art and to the effects of the Trans-Human power of the Crowd," the staging of the last part of the book deals with the fourth and last expedition by the Brazilian National Army to the Northeastern "sertão." 12 thousand soldiers, cannons, and modern weapons where deployed, together with modern strategists such as Marshal Bittencourt who, for the first time in the history of the Brazilian Army, established an operational base away from the front, from where he commanded the maneuvers that General Arthur Oscar and his deputy, the blood-thirsty General Barbosa, executed. The play shows the end of the War of Canudos, which resulted in the massacre of the sertanejos, the death of Antônio Conselheiro himself (who went to meet God), and the destruction of the citadel.

Dedicated to "all the power of the Un-massacre of Art and to the effects of the Trans-Human power of the Crowd," the staging of the last part of the book deals with the fourth and last expedition by the Brazilian National Army to the Northeastern "sertão." 12 thousand soldiers, cannons, and modern weapons where deployed, together with modern strategists such as Marshal Bittencourt who, for the first time in the history of the Brazilian Army, established an operational base away from the front, from where he commanded the maneuvers that General Arthur Oscar and his deputy, the blood-thirsty General Barbosa, executed. The play shows the end of the War of Canudos, which resulted in the massacre of the sertanejos, the death of Antônio Conselheiro himself (who went to meet God), and the destruction of the citadel.

While waiting for directions, two revolutionaries hide in a church, where they meet a woman who wants to have a son with one of them.

From 2000 to 2007, Teat(r)o Oficina Uzyna Uzona worked on the staging of Euclides da Cunha's epic book, Os Sertões, which describes the 19th Century War of Canudos in the Brazilian "sertão"(backlands). The result was the pentalogy of plays: A Terra (2002), O Homem I (2003), O Homem II (2003), A Luta I (2005), and A Luta II (2006). This first play is a carnival opera, the actors are the earth, the vegetation, the wind, the animals, the rivers, the drought. It reveals the most intimate secrets of nature, that also vibrate in the human and trans-human arteries. This work enriched by the experience that the subsequent works brought gains an updated insight into the human interference in the environment. Destructive power is proportional to financial power, and the discussion about the way space gets occupied was brought to the forefront, including the real-estate boom that surrounds today not only Teatro Oficina, but the whole world, now hotter and more arid.

Based on Oswald de Andrade's Anthropophagous Manifesto, Macumba was a hit with the audience that participated and interacted more with the work at each presentation.

Boca de Ouro was born in a back room of a dance hall, and his first crib was a bathroom sink where his mother left him. The boy grows up and becomes a feared and respected bookie—an almost mythological figure in the community where he lives. Fascinated by the story of the recently deceased criminal, journalist Caveirinha seeks out the criminal's ex-lover, D. Guigui, to gather material for an article. Her accounts of Boca reflect her emotional state.

Boca de Ouro was born in a back room of a dance hall, and his first crib was a bathroom sink where his mother left him. The boy grows up and becomes a feared and respected bookie—an almost mythological figure in the community where he lives. Fascinated by the story of the recently deceased criminal, journalist Caveirinha seeks out the criminal's ex-lover, D. Guigui, to gather material for an article. Her accounts of Boca reflect her emotional state.

The second play, O Homem I, is about the vigorous embrace of the winner, the Celtic European Colonizer, copulating with the defeated, with the slaves from the ships, forming the "Typeless-Brazilian" type. Mixtures of all kinds find their space in the stage in the surprising miscegenation already present in the cast and crew of Teatro Oficina itself. It is the story of the Brazilian Man, the Man of the Country abroad interbreeding with the Country inside, until the Revolt against the very idea—imposed and imported—of man, with the appearance of Zarathustra Antônio Conselheiro.

The second play, O Homem I, is about the vigorous embrace of the winner, the Celtic European Colonizer, copulating with the defeated, with the slaves from the ships, forming the "Typeless-Brazilian" type. Mixtures of all kinds find their space in the stage in the surprising miscegenation already present in the cast and crew of Teatro Oficina itself. It is the story of the Brazilian Man, the Man of the Country abroad interbreeding with the Country inside, until the Revolt against the very idea—imposed and imported—of man, with the appearance of Zarathustra Antônio Conselheiro.

Documentary based on archive material focusing on the dictatorial regimen in Portugal and its fall with the "Revolução dos Cravos" (Carnation Revolution), in 1974, after 48 years of Salazarism.

Filmed in 16 mm, 25 (Vinte Cinco) is a production that involved the collaborative effort from people from Brazil, Mozambique, Portugal and France. It follows the decolonisation process of Mozambique (the aftermath of the colonial war and of the fall of the fascist dictatorship in Portugal, which collapsed on the 25th of April 1974) and the geopolitical organisation of both Africa and Mozambique (that became independent on the 25th of June, 1975.)

From 2000 to 2007, Teat(r)o Oficina Uzyna Uzona worked on the staging of Euclides da Cunha's epic book, Os Sertões, which describes the 19th Century War of Canudos in the Brazilian "sertão," lead by Antônio Conselheiro. The final result was a pentalogy of plays. This forth play deals with the cause of the war, when a judge from Juazeiro stopped a shipment of wood that was paid for from being delivered for the construction of the New Church of Canudos. Three expeditions were sent by the National Army and defeated, the last one commanded by the famous Colonel Moreira César. The Army faced the humiliation of soldiers deserting and running away, and the impaling of Colonel Tamarindo. He ended up being the main character in a macabre installation on the road to Canudos, created by the Jagunços (thugs from the sertão) and the Mandrakes to intimidate new expeditions.

From 2000 to 2007, Teat(r)o Oficina Uzyna Uzona worked on the staging of Euclides da Cunha's epic book, Os Sertões, which describes the 19th Century War of Canudos in the Brazilian "sertão," lead by Antônio Conselheiro. The final result was a pentalogy of plays. This forth play deals with the cause of the war, when a judge from Juazeiro stopped a shipment of wood that was paid for from being delivered for the construction of the New Church of Canudos. Three expeditions were sent by the National Army and defeated, the last one commanded by the famous Colonel Moreira César. The Army faced the humiliation of soldiers deserting and running away, and the impaling of Colonel Tamarindo. He ended up being the main character in a macabre installation on the road to Canudos, created by the Jagunços (thugs from the sertão) and the Mandrakes to intimidate new expeditions.

Filming of the historical montage of Oswald de Andrade's play, where decadent millionaires, depraved children, corrupt and implacable capitalists are the characters interpreted by the Grupo Oficina, in a celebrated theatrical performance from 1967, fundamentally recorded in 1971 and released only in the 1980s.