Eduardo Coutinho was filming a movie with the same name in the Northeast of Brazil, in 1964, when there came the military coup. He had to interrupt the project, and came back to it in 1981, looking for the same places and people, showing what had ocurred since then, and trying to gather a family whose patriarch, a political leader fighting for rights of country people, had been murdered.

"Master" is the name of a 12-story apartment building in Copacabana, Rio de Janeiro's neighborhood for nightlife. Over the course of four weeks in 2001, Eduardo Coutinho's film crew rented one of the 276 apartments and used it as home base to make a film about the building's residents. We get to know the building manager, who succeeded in turning the troubled residence into a family complex within just a few years. Using interviews and a few stolen moments in the corridors of the building, Coutinho explores this world. Most of the building's residents come from the lower middle class and are just getting by, but that's just about the only thing they have in common - so many people, so many stories, sometimes told in a self-confident tone, sometimes with averted eyes. The fact that a film crew is interested in their stories puzzles some of them. Hope, fear, dreams, memories, love and loneliness all appear from behind the doors of this average apartment building.

Following a newspaper ad, ordinary women tell part of their life stories to director Eduardo Coutinho, which are then re-enacted by actresses, blurring the barriers between truth, fiction and interpretation.

An overview of brazilian spirituality and religions.

In 1979 and 1980, workers in São Paulo’s metallurgical industry organized a series of strikes that changed the face of union politics in Brazil. In the process, they established the groundwork for Brazil’s Worker’s Party and brought to the national spotlight union leader Luís Inácio Lula da Silva. Metalworkers is a feature-length documentary about the stories of 21 of these workers who took part in these historic strikes but remain in relative anonymity today.

A film that began from zero. Without any previous research, characters, locations or established themes, a film crew arrives at the Paraiba backlands in search of people with stories to tell. In the town of São João do Rio Peixe, they discover the Araçás Farm, a rural community where 86 families live, the majority connected by family ties. Thanks to the mediation of a young woman from Araçás, the residents – consisting mostly of elderly people – tell their life stories, marked by popular Catholicism, hierarchy, a sense of family and honor. A world on the verge of disappearing.

Simple, emotionally compelling documentary that delves into the songs that hold meaning in people's lives. It is composed of 18 sessions where the director engages his subjects in conversation about the song they picked. The end product is deeply personal stories about music and its intimate connection to memory, love, loss, self-discovery, regret, death, and life.

2001 film by Eduardo Coutinho

Continuing the exploration of the thin line between truth and performance, Eduardo Coutinho turns his attention to the drama generated during rehearsals for the Galpão Theater Company’s performance of Chekov’s The Three Sisters. As he shoots scenes from the play, Coutinho attempts to capture the very moment in which reality becomes fiction and vice versa—whether through the actors’ bodies and words or in backstage scenes of a performance that will exist only on film.

1971 film directed by Eduardo Coutinho

In this documentary Coutinho examines the plight of the people who live off the waste of the Brazilian cities. These people make their living by scavenging the immense urban garbage dumps searching for whatever they can find to sell as well as whatever they can find to eat.

Made from interviews with young Brazilian students by filmmaker Eduardo Coutinho before his death (in February 2014), the film seeks to understand how teenagers think, live and dream nowadays. The footage was edited by Coutinho’s longtime partner, film editor Jordana Berg, and the final cut is signed by João Moreira Salles.