O Último Dia de Lampião(1975)

Lampião, o Rei do Cangaço(pt)

Memória do Cangaço(pt)

The origins of "cangaço", armed brigands in the Northeast between 1935 and 1939, interviews with some survivors of the fighting, police and outlaws movement. Interspersed with testimonials, authentic sequences of films made in 1936 by Benjamin Abraham, an Arab peddler who managed to film the famous band of Virgulino Ferreira da Silva, the "Lampião".

Zé de Julião, Muito Além do Cangaço(pt)

Quelé do Pajeú(pt)

A man seeks revenge after his sister get raped by an unknown foreign, identified only by scar and a missing finger. But his payback journey is a long way and bears its surprises.

The Bandit(pt)

In the time of the "cangaceiros" in the badlands of the Northeast of Brazil, the cruel Captain Galdino Ferreira and his band abduct the schoolteacher Olívia, expecting to receive a ransom for her. However, one of his men, Teodoro, falls in love and flees with her through the arid backcountry chased by the brigands.

Cangaceiros de Lampião(pt)

On the day of Pedro Boiadeiro's wedding, a band of cangaceiros who survived the Angicos massacre invade his home, then proceed to beat him up, and abuse and murder his wife. Pedro sets out to get revenge on each one.

Viva Cangaceiro(it)

Brazil, the 1920s. The sadistic colonel Minas massacres the hometown of a famous cangaceiro (a kind of revolutionary bandit). The only survivor is a young farmer called Espedito; he is nursed back to health by a hermit who thinks he has been sent by God and therefore baptizes him the Redeemer. Espedito/The Redeemer forms his own gang of cangaceiros but doesn’t really understand what he’s doing until he befriends the proverbial European intellectual, a Dutch Oil prospector, who introduces him to important people. Espedito is hired by the Dutchman and a corrupt local governor, but then the Dutchman changes sides …

O Cangaceiro(pt)

This is a remake of Brazil's first international success in the cinema world. Just as its same name predecessor was, this film is a fictional version of the story of the "cangaceiros." These were bandits who sacked towns and spread terror throughout Northeastern Brazil in the 1930s. This group of outlaws is led by Captain Galdino and his wife Maria Bonita.

Bruce Lee Versus Gay Power(pt)

'Bruce' goes to head with bandits who are terrorising and murdering villagers.

O Cabeleira(pt)

Based on the novel by Franklin Távora, the film follows the adventures of a father and a son in 18th century Brazil.

The Godless Bandit(pt)

After the proclamation of the Republic, a group of fanatics in the sertão dreamed of and fought for the restoration of the Monarchy. At that bloody time, Fabiano, a quiet boy, becomes a cangaceiro and is attacked by the police. Although wounded, he manages to take refuge on a farm where he is hidden in by Lúcia, the farmer's daughter, with whom he falls in love.

Perfumed Ball(pt)

A Lebanese photographer living in Brazil in the '30s manages to film the band of Lampião, a legendary Brazilian bandit.

Maria Bonita, Rainha do Cangaço(pt)

Romantic biography of Maria Bonita, daughter of a poor farmer who was kidnapped by Lampião and became his lover.

Aroeira(pt)

Alan Yates Uncovered(en)

Documentary follows Gabriel Yorke, the actor turned Berkeley professor, who, after 25 years of silence, is finally willing to speak about his participation in the controversial film Cannibal Holocaust (1980).

Totem: The Return of the G'psgolox Pole(en)

This feature-length documentary traces the journey of the Haisla people to reclaim the G'psgolox totem pole that went missing from their British Columbia village in 1929. The fate of the 19th century traditional mortuary pole remained unknown for over 60 years until it was discovered in a Stockholm museum where it is considered state property by the Swedish government. Director Gil Cardinal combines interviews, striking imagery and rare footage of master carvers to raise questions about ownership and the meaning of Aboriginal objects held in museums.

Nanook of the North(en)

This pioneering documentary film depicts the lives of the indigenous Inuit people of Canada's northern Quebec region. Although the production contains some fictional elements, it vividly shows how its resourceful subjects survive in such a harsh climate, revealing how they construct their igloo homes and find food by hunting and fishing. The film also captures the beautiful, if unforgiving, frozen landscape of the Great White North, far removed from conventional civilization.

Olympia: Part One – Festival of the Nations(de)

Commissioned to make a propaganda film about the 1936 Olympic Games in Germany, director Leni Riefenstahl created a celebration of the human form. This first half of her two-part film opens with a renowned introduction that compares modern Olympians to classical Greek heroes, then goes on to provide thrilling in-the-moment coverage of some of the games' most celebrated moments, including African-American athlete Jesse Owens winning a then-unprecedented four gold medals.

Olympia: Part Two – Festival of Beauty(de)

Commissioned to make a propaganda film about the 1936 Olympic Games in Germany, director Leni Riefenstahl created a celebration of the human form. Where the two-part epic's first half, Festival of the Nations, focused on the international aspects of the 1936 Olympic Games held in Berlin, part two, The Festival of Beauty, concentrates on individual athletes such as equestrians, gymnasts, and swimmers, climaxing with American Glenn Morris' performance in the decathalon and the games' majestic closing ceremonies.

Workers Leaving the Lumière Factory(fr)

Working men and women leave through the main gate of the Lumière factory in Lyon, France. Filmed on 22 March 1895, it is often referred to as the first real motion picture ever made, although Louis Le Prince's 1888 Roundhay Garden Scene pre-dated it by seven years. Three separate versions of this film exist, which differ from one another in numerous ways. The first version features a carriage drawn by one horse, while in the second version the carriage is drawn by two horses, and there is no carriage at all in the third version. The clothing style is also different between the three versions, demonstrating the different seasons in which each was filmed. This film was made in the 35 mm format with an aspect ratio of 1.33:1, and at a speed of 16 frames per second. At that rate, the 17 meters of film length provided a duration of 46 seconds, holding a total of 800 frames.