O bandido da luz vermelha

Sganzerla’s first feature film sets new ground for blending aesthetics that one would never think of mixing together: Orson Welles, Pierrot le fou and the structure of sensationalist radio broadcastings of crime journalism. The first true example in Brazilian cinema of an art-pop film, The Red Light Bandit is to some extent the cinematic equivalent of the tropicalist movement in Brazilian pop m [...]

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