Elza Gomes in Joaquim Pedro de Andrade's Guerra Conjugal (1976)

Elza Gomes in Guerra Conjugal (Joaquim Pedro de Andrade, 1975);

Aleijadinho (Joaquim Pedro de Andrade, 1978);

O Padre e a Moça (Paulo José & Helena Ignez) (Joaquim Pedro de Andrde, 1966);

"La alucinación del Aleijadinho parecía querer llenar la ciudad. Ouro Preto está ceñido por sus desapariciones y apariciones en su mulo de relámpagos nocturnos... en el crepúsculo de espeso follaje sombrío, llega con su mulo, que aviva con nuevas chispas la piedra hispánica con la plata americana, llega como el espíritu del mal, que conducido por el ángel, obra en la gracia" (José Lezama Lima, La Expresión Americana).

"High Renaissance figures are, as a rule, built up around a central axis which serves as a pivot for a free, yet balanced movement of the head, shoulders, pelvis, and extremities. Their freedom is, however, disciplined according to what Adolf Hildebrand has called the principle of Reliefanschauung which he mistook for a general law of art while it is merely a special rule applying to classical and classicizing styles: the volume is cleansed of its torturing quality so that the beholder, even when confronted with a statue worked in the round, might be spared the feeling of being driven around a three-dimensional object... (approximate symmetry; preference for moderate angles as opposed to rigid horizontals, verticals and diagonals; and emphasis of undulating contours)... a picture free from excessive foreshortenings, obstructive overlappings... The Manneristic figura serpentinata, on the contrary, not only does not avoid but actually revels in what Hildebrand has called das Qualende des Kubischen (the torturing quality of the three-dimensional)... a Mannerist statue... seems gradually to turn round so as to display, not one view but a hundred more... multi-view... revolving-view... The Baroque abandons the Manneristic taste not in favour of classic discipline and equilibrium, but in favour of seemingly unlimited freedom in arrangement, lighting and expression... Baroque statues are fused with the surrounding space... Its aspect is comparable to that of the stage of a theatre... Michelangelo [idiosincraticaly] tortures the beholder not by driving him around teh figure, but by arresting him in front of volumes which seem to be chained to a wall, or half imprisoned in a shallow niche, and whose forms express a mute and deadly struggle of forces forever interlocked with each other... each of his figures is subjected to a volumetric system of almost Egyptian rigidity. But the fact that this volumetric system has been forced upon organisms of entirely un-Egyptian vitality, creates the impression of an interminable interior conflict... their unhappiness is essential... Inexorably shackled, they cannot escape from a bondage both invisible and inescapable. Their revolt increases as the conflict sharpens; at times a breaking point is reached, so that their vital energies collapse... attitudes of repose do not connote peaceful tranquility but absolute exhaustion, deadly torpor, or fitful drowsiness... figures are conceived not in relation to an organic axis but in relation to the surfaces of a rectangular block... They are modelled by the characteristic cross-hatching, which even in drawing look like chisel-marks" (Panofsky).

See also: 

- Rogério Sganzerla;
- Meteorango Kid &/ou O Cabelo de André Luiz Oliveira;
- Julio Bressane;
- B4 Cidade de Deus & Tropa de Elite;
- Porto das Caixas (Paulo César Saraceni, 1962);
- Cinema Novo's Judgment Day;
- Brazil on a High;

And also:

- Sobre o fio de José Padilha;
- "ERRATA list" for Narrative Outbreak in Contemporary Conflict Cinema;
- Narrative Self-Deconstruction in Contemporary Cinema;
- Bases histórico-conceituais para a crítica cinematográfica não representacional;

- Woody Allen as Impossible Cassandra; 

- Sobre o fio de José Padilha;
- "ERRATA list" for Narrative Outbreak in Contemporary Conflict Cinema;
- Narrative Self-Deconstruction in Contemporary Cinema;
- Bases histórico-conceituais para a crítica cinematográfica não representacional;

- Woody Allen as Impossible Cassandra; 

- Non-Realism and Ontology in Gus van Sant's Paranoid Park;