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Films with clips: titles beginning with O

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O Beijo No Asfalto (Bruno Barreto, Brazil, 1981)
O Bem Dotado - O Homem de Itu (José Miziara, Brazil, 1978)
O Bom Burguês (Oswaldo Caldeira, Brazil, 1979)
O Casal (Daniel Filho, Brazil, 1975)
O Casamento (Arnaldo Jabor, Brazil, 1975)
O Convite ao Prazer (Walter Hugo Khouri, Brazil, 1980)
O Desejo (Walter Hugo Khouri, Brazil, 1975)
O Dia em Que o Santo Pecou (Cláudio Cunha, Brazil, 1975)
O Fotógrafo (Jean Garret, Brazil, 1980)
O Gosto do Pecado (Cláudio Cunha, Brazil, 1980)
O Homem do Corpo Fechado (Schubert Magalhães, Brazil, 1973)
O Homem do Pau-Brasil (Joaquim Pedro de Andrade, Brazil, 1982)

The Brazilwood Man is a lively satirical treatment of the life of early 20th Century radical author and all-round stirrer Oswald de Andrade. It's a relatively lavish production for a Brazilian film, set mostly within its subject's native upper class milieu.

The storyline is fragmentary and hard to follow; most scenes can only be described as characters having loud and violent altercations with each other. The sets and costumes tend to be colourful and partly make up for this. The female cast of cinema nacional regulars are often scantily clad but are reluctant to take off their entire kit. The sweet and innocent heiress Cristina Aché is a case in point, though her convent school uniform has the good taste to combine a sailor-suit top with a mini-skirt and roller skates.

The climax of the film is more like what we expect from Brazil: sun, sea, sand, and hedonistic frolics. A millionaire's yacht is hi-jacked by near-naked Marxist guerrillas Dora Pellegrino and Ítala Nandi.

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O Império do Desejo (Carlos Reichenbach, Brazil, 1981)
O Inseto do Amor (Fauzi Mansur, Brazil, 1980)
O Olho Mágico do Amor (José Antonio Garcia, Brazil, 1982)
O Palácio dos Anjos (Walter Hugo Khouri, Brazil, 1971)
O Prisioneiro do Sexo (Walter Hugo Khouri, Brazil, 1984)
O Segredo da Múmia (Ivan Cardoso, Brazil, 1987)
O Sexo Nosso de Cada Dia (Ody Fraga, Brazil, 1981)
O Último Mergulho (João César Monteiro, Portugal, 1992)
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