Carlos Kroeber Movies

Brazilian teenager Vera (Ana Beatriz Nogueria) is released from the orphanage where she has spent most of her life. Her brutal experiences while a ward of the State have caused her to adopt masculine dress and mannerisms--a successful effort to wield power over her fellow orphans. On the outside, Vera finds shelter and a job through the auspices of a benevolent professor (Raul Cortez). While still in male garb, Vera develops a chaste relationship with a female coworker (Aida Leiner). Unable to consummate the relationship, Vera undergoes a great deal of inner torment, at one point considering a sex change. The end of this provocative but non-sensational film finds Vera coming to grips with her femininity, even though her future happiness is still up in the air. 18-year-old Ana Beatriz Nogueria won a Berlin Film Festival best actress award for her astonishingly mature performance in Vera. ~ Hal Erickson, Rovi

Set in the 1950s in the state of Minas Gerais, just north of Rio de Janeiro, this film by Carlos Alberto Prates-Correa is a work of literary and cinematic art, conveying the story of people on a farm with sensual images and evocative dialogue. The film received several awards in Brazil's 1984 Gramado Film Festival, including best cinematography, editing, and sound, among others. ~ Eleanor Mannikka, Rovi

Bye Bye Brazil, the gifted director Carlos Diegues' follow-up to his 1978 Xica da Silva, became one of the most popular and fiscally successful imports of late '70s and early '80s South American cinema. Bye Bye is a muted and low-key ensemble drama about a shabby circus crawling from small town to small town through the Brazilian backwaters. As the curtain rises before us, the circus claims three participants: the slightly scary, medicine-show-like leader, Lorde Cigano (Jose Wilker), who sports a carnival-like 19th century mustache and cape, and keeps the audience mesmerized with magic tricks; the erotically charged, raven-haired dancer Salome (Betty Faria), "Queen of the Rumba"; and the deaf-mute strongman Swallow, who doubles as a fire breather. The troupe quickly adds yet another member shortly after the story begins: the strapping young accordion player Cico (Fabio Junior). He signs on with the circus when he catches sight of Salome, and is thus lost to his expectant wife, Dasdo (Zaira Zambelli) forever -- despite his obligation to cart the missus along with the troupe. The preponderance of the drama explores the shifting relationships between the circus members over the course of their journeys; it also reveals how endangered the troupe has become, both by the inability of locals to pay (the performers accept melons and other edible goods as recompense) and by competing entertainments such as television. These endangerments will ultimately force Cigano and co. beyond desperation -- to the point of ending the circus altogether and prostituting out Salome and Dasdo, just to turn a buck. ~ Nathan Southern, Rovi

Revolutionaries in 16th-century Brazil come in for close study in this 1972 Brazilian/Italian film. A group of intellectuals, with the exception of a Corporal Tiradentes, these revolutionaries plotted the overthrow of the Portuguese colonial government. In a compelling scene, an informer slips into the governor's bathtub to tell him of the group's plans. The entire group was rounded up and put in prison where, Inquisition-like, they were tortured until they recanted. Only Tiradentes refused, and was killed. One of the film's ironic moments is a shot of modern Brazil officially celebrating the dedication of this lone patriot. It is ironic, because the country was under the control of an undemocratic, strict military government at the time. ~ Clarke Fountain, Rovi

This documentary covers the popular Brazilian singer Wilson Simonal. He delivers a series of songs in this feature that appears to be a promotional advertisement. Zany situations give a dose of comedy to this otherwise pedestrian effort. ~ Dan Pavlides, Rovi