O Auto da Compadecida

"O Auto da Compadecida" figures as the best Brazilian comedy of all times, not only for the jokes itself but for the social and economical context that it shows!! Showing the northeast poor situation it shows an atmosphere that can only be understanded by Brazilians and third world countries citizens.

The movie tells the story of joão grilo and chicó two poor friends that uses their smart to survive. sometimes honestly and sometimes tricking the richer and stronger people. With a smart and simple humor it makes you laugh from the first to the last minute, don't having to appeal to nudity and deliberated violence!!

This one is one of the greatest comedies ever and should be watched by everyone who can understand it context!!

One of my favorite Brazilian movies. Matheus Nachtergaele and Selton Mello did a terrific job together. The movie is funny, colorful, engaging and has a little bit of culture from the northeast of Brazil. Definitely a must watch movie.

Thats amazing story about heaven, hell and the duality of the human being settled in the poorest region of the Brazilian northeast is a great portrait of the human in the most comic way possible. It isn't the most famous Brazilian movies around the world, but it's surely one of the best.

It's hard to find actors with as much charisma and on-screen chemistry as this movie's main duo. Throw in an impeccable script and various Cameos by Brazil's biggest and brightest stars, and you'll have one of the funniest movies ever made (and my personal favorite amongst the post-1980s Brazilian productions. The only downside of this movie is that it was originally a four-hour TV mini-series; the two-hour version is inevitably condensed. If you have the option of choosing between them, go for the complete work. If not... well, half the laugh is still better than no laugh.

"O Auto da Compadecida," commonly translated as "A Dog's Will" (a translation which, to my ears, waters down the significance, the gravitas, and the poetry of the title in the original) is a sure-classic and a phenomenon of the Brazilian cinema and popular culture of the recent past and of modernity in the rural communities of its countryside. The film has marked the heart and the soul of an entire generation since the dawn of the twenty-first century, and features lines and words still common-parlance among the average Brazilian (e.g., João Grilo's : "Não sei não... Só sei que foi assim. ("I don't know--all I know it was so"))

All in all, the film portrays themes of class, spiritual feelings, and some legendary figures of the folklore and of the past of the Brazilian drylands and Northeast. In a way, "O Auto da Compadecida" memorializes through the friendship of Chicó and João Grilo an entire generation and past, an entire dialectic and language, all done with outstanding actors, actresses, and acting overall.

This is surely a landmark of Brazilian cinema, imagination, and one that is sure to delight those open to receive its humor and themes of love, spirituality, redemption, and forgiveness.