Patricide, then popcorn. Brazil's most unhinged double feature.
In Rio de Janeiro, after an altercation with his father and mother, a young man named Bebeto kills his family and goes to a movie theater, where he watches four weird vignettes.
Direction
D'Almeida's four vignettes each mock a different Brazilian cinema mode.
Acting
Frota's dead-eyed Bebeto walks through carnage like it's Tuesday.
Writing
The title isn't metaphor. He literally does both things.
Director
Neville D'Almeida
Trivia, insights & behind the scenes
Part of Brazil's 'Cinema Marginal' movement, rejecting the glossy Cinema Novo legacy for something deliberately ugly and confrontational.
The four vignettes parody specific Brazilian genres: chanchada musicals, pornochanchada sex comedies, Cinema Novo social realism, and auteur self-indulgence. Bebeto watches them all with identical boredom.
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