里约热内卢的中央车站，朵拉（费尔南达-蒙特内格罗Fernanda Montenegro饰）在这里帮人写信。但她会把看不顺眼的信统统撕掉不寄，甚至公开读信里的内容取乐。朵拉生活拮据，年纪不小却还未嫁，或许在她内心，人与人之间的真情根本就不值得信赖。
小男孩约书亚（文尼西斯•狄•奥利维拉Vinícius de Oliveira 饰）的出现令她开始了一段重新认识人生的旅程——约书亚很想见到远方素未谋面的父亲，不断写信给他。男孩母亲意外的车祸让朵拉决定陪伴约书亚前往东北部寻找父亲。在约书亚眼中，即使父亲很陌生，却总是骄傲地谈起父亲。而朵拉，也同样有着一段和父亲的痛苦往事。在约书亚寻父的过程中，朵拉因为往事而冰冻的内心慢慢回暖。

一部巴西问题的解剖, 运用在一家圣保罗餐馆里六个人的见面，作为模型说明巴西政治和社会学的探讨。

本片获2000年洛枷诺青年评委会大奖，圣保罗电影节评论协会最佳影片。

千禧年最后两天，敲诈者手握监狱官僚犯罪的把柄以此勒索钱财，官僚为了除掉心腹之患故意放走被判了30年监禁的敲诈者的好友，让其杀死敲诈者。另一方面，女教师的男友在新千年的最后一天离开了她，女教师想尽办法挽回，但是未果。
敲诈者回到家中，取得了妻子的谅解，但是逃犯来到，趁着敲诈者妻子出门，在敲诈者祷告后杀死了他。但是监狱长官并没有守信，反而追杀他。他隐匿在一幢大楼的顶层，在零点巧遇想要自杀的女教师，他将其救下，并给予了她活下去的信心。第二天，重获新生的女教师在大海中游泳，岸边的逃犯被追杀者杀死。

Redentor is a surrealistic tale of greed and corruption in the chaotic Brazilian society. It seems to be inspired in the real case of the scum Brazilian constructor Sérgio Naya, and anyway is based in many elements of our very unfair society where justice rarely works in situations like showed in the movie. The story is amazingly good, with the exception of the conclusion, which gives a religious connotation to the plot, being corny for my taste. The performances of Pedro Cardoso and Miguel Falabella are spectacular as usual, and the whole cast has also great acting.

本片以浪漫手法讲述了传媒大亨阿西斯·夏多布里昂的人生。片中将他描绘成电视公审上的中心人物，他的理想热情和人生成就将接受公开评判。

Reunited for their mother’s funeral, four sisters – Selma, Regina, Laura and Lúcia – find themselves forced to divide much more than an apartment in Copacabana. While dividing the articles, the sisters compare options, destinies, lifestyles, and expectations. The turbulent sale of the apartment represents a turning point in their lives: they know they have never been so deeply involved as accomplices, or as sisters.

Cristina still lives with her mother and wants to find her true love. She looks for help in a matrimonial agency, that arranges a meeting between her and Paulo. She likes the guy, but Paulo doesn't seem too enthusiastic. As time goes by, Chico, the owner of the agency, feels he is becoming too fond of Cristina...