During an attempted robbery, the daughter of the lawyer Carla's is shot and in serious condition. With no answers, Carla tries to move on with her life by seeking help from support groups. Unable to accept his daughter's fate and the lack of solutions on the part of the police, he transforms the search for justice into a search for revenge and tests his own limit to see how far he could go.

The methodical day-to-day activity of a young autistic boy changes drastically when he sees a girl passing by riding a bike.

Laura goes to Buenos Aires and falls for the photographer Guilherme. When she returns to Brazil, her homeland, she discovers Guilherme is actually her fiancé's best friend.

Nanda must rethink her plansof studying in Amsterdam when she discovers she is pregnant. After losing the support of her boyfriend Léo, the young girl decides to return home, where she suffers a serious accident and dies.However, Helena, her doctor, is able to save her new-born twins: Francisco and Clara. Unfortunately, Clara suffers from Downs Syndrome. Helena feels a strong emotional tie to Clara and adopts her.Years later, the twins’father Léo, a young and wealthy businessman, returns to the scene, wanting to gain custody of the children.However, Helena and Alex fight to the end to retain guardianship of the twins, whom they have raised with such love.

The series surrounds the damaged relationship between a saxophonist and a woman who falls in love for a former boyfriend, whom she had left to marry him.

Young man, of Portuguese nobility ascendancy, starts working in a rubber plantation in the Amazon, in 1912, and falls in love with pretty Yayá, a married woman.

Corpo Dourado is a Brazilian soap opera produced by and shown on Rede Globo from 12 January 1998 through 21 August 1998. The 191 chapters were written by Antônio Calmon and directed by Flávio Colatrello Jr, and later Marcos Schetchman.

Pedra Sobre Pedra is a Brazilian telenovela produced by Rede Globo from January 6 to July 31, 1992, with 178 episodes.

An accident at a construction site, resulting in one death, sets one worker off on a struggle for justice that exposes the mechanisms of exploitation and the class relations of a country that had undergone one decade of fast-paced ‘conservative modernisation’ at the hands of the military. As a sort of sequel to the classic The Guns (1964), following the fate of those characters as they move from enforcers of exploitation to exploited, it offers more than a snapshot of the period: the correspondent time lapses in fiction and reality capture the passage of a chunk of Brazilian history between the two films, and, therefore, also the transformations in cinematographic approaches to the social and political between the two moments. Equally daring in content and form, and in the originality of the adequacy of one to the other, it won the Silver Bear at Berlin.