O bandido da luz vermelha

Film Information:


The Red Light Bandit




Rogério Sganzerla




35 mm


92 min


  • Helena Ignez, Paulo Villaça, Pagano Sobrinho, Luiz Linhares, Hélio Aguiar


  • GUIÓN: Rogério Sganzerla
  • FOTOGRAFÍA: Peter Overbeck
  • MONTAJE: Silvio Renoldi
  • PRODUCCIÓN: Rogério Sganzerla, José da Costa Cordeiro,
  • José Alberto Reis


  • Contacto / Contact
  • Mercúrio Produçoes Ltda.
  • Helena Ignez
  • Rua Nestor Pestana, 87 -
  • Conjunto 101 - Consolação
  • 01303-010 Sao Paulo, Brazil
  • T +55 11 3256 8676
  • +55 11 3129 5745
  • F +55 11 3256 8676
  • E smercurioproducoes@gmail.com


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 music (Caetano Veloso, Gilberto Gil, Tom Ze): a logic of mixing high culture with scum, mass culture with more elitist art, tradition with avant-garde, in a cannibalistic strategy that seeks to devour everything that is other or foreign in order to make it its own. “Whoever wear shoes will not last,” says the deranged character-title of the film. This fixation on nearly prophetical, definitely charismatic figures might get Sganzerla a little bit closer to the work of Glauber Rocha. But, as it’s a combat film, The Red Light Bandit makes no friends: it’s against Brazilian politicians, against upper-class privileges and against the Cinema Novo, turned institutional by the time and growingly innocuous.

Dates and Times