Trailer
Why watch this film?
Based on the true story of actor Arlindo Barreto, who played the clown Bozo in the mornings of SBT in the 1980s. Even though he was unable to use the real character and TV stations, the production signed by Daniel Rezende manages to capture the spirit of that time. Special mention also for Vladimir Brichta's performance in the role of the protagonist. It is certainly one of the best Brazilian films of 2017.
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Filmelier
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Plot summary
Based on a true story, "Bingo" is a film about the man behind the mask. Augusto is an actor hungry for a place in the spotlight, following the footsteps of his mother, a stage artist in the 50's. While starring in soft porn and soap operas he finally gets the chance to conquer the crowds when he is cast as "BINGO", a television host clown. With his irreverent humor and natural talent, the show is a big hit, but a clause on his contract forbids him to reveal his true identity.
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From the same director
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Monica and Friends: Lessons
"Turma da Mônica: Laços" arrived in theaters in 2019 surrounded by suspicions. There were doubts if the universe created by Mauricio de Sousa would really work with real, flesh-and-blood actors. Would the magic hold up on the big screen? But it was a pleasant surprise: it hit the mark with its cast, the reconstruction of Bairro do Limoeiro and the way it dealt with the story. So it's no surprise that the feature film has a sequel with "Turma da Mônica: Lições", which brings Daniel Rezende ("Bingo") back to the director's chair, as well as bringing back all the children's cast. Here, Monica, Cebolinha, Magali and Cascão show that they are more mature. They start to face the dilemmas of growth and, therefore, the dramas become more painful. Obviously, much of what appears on the screen is related to the dramas of adolescence - the difficulty in saying "I love you", the relationships that become complex and so on. And in this mix, there is a lot of truth in what is said and shown, going beyond the child adventure we saw in the first feature film. There is no brilliant moment like the appearance of the Madman in "Laços", but the whole work is all right, with a mixture of nostalgia and excitement for the new that appears there.
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Eugenia was cut off by her boyfriend, she lost her job, her roomie left and her dog escaped. Now she has a plan: Reinvent herself and recover what was lost.
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After a failed comeback album, rock star John Allman escapes to a dreamy Mediterranean island, only to discover that his new cliffside home has an unfortunate notoriety that attracts unwanted visitors and an old flame.
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Outsider Girls (original Spanish title: Las demás) is the feature film debut of Chilean filmmaker Alexandra Hyland as both director and screenwriter, and its art direction, music, editing, and staging, as well as its context and themes, embody a spirit that can only be described as "punk." The plot follows two best friends from university, whose lives are turned upside down when one of them becomes pregnant. Together, they embark on a quest to obtain an abortion in a country where it is still illegal. This is a great comedy that, in a carefree tone, without prejudice but also without concessions, highlights the hypocrisies of social, cultural, and political life in Chile, echoing experiences in other regions of Latin America.
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Directed, written, and starred by Salvadoran comedian Julio Torres (Los Espookys), Problemista is a comedy that presents an absurd premise and doesn't worry about its credibility, and instead embraces its ridiculousness and runs with it. Set in an unspecified time in New York, Álex (Torres) aspires to be a toy inventor at Hasbro, with ideas as absurd as Barbies with crossed fingers or Cabbage Patch dolls with cellphones. To make ends meet, he works at a cryogenization clinic that freezes patients to wake up in the future (although there's no certainty that such technology will exist). When he is fired, he takes a job as an assistant to the neurotic Elizabeth (Tilda Swinton at her finest), who harbors the unreal idea of curating an exhibition of her artist husband's paintings, one of the frozen patients. With a production design that indulges in camp (closer to Roger Waters than to Pedro Almodóvar), using cheap costumes and ridiculous digital special effects, Torres builds a surreal and amusing atmosphere that satirizes the twisted difficulties of living in the United States (especially for Latin immigrants), the banal and stupid egocentrism of the cultural elites, and the absurdity of corporatism. Its eccentricity may repel some, but if you approach it on these terms, you'll leave the cinema having seen something truly unique.
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