Dora, a dour old woman, works at a Rio de Janeiro central station, writing letters for customers and mailing them. She hates customers and calls them 'trash'. Josue is a 9-year-old boy who never met his father. His mother is sending letters to his father through Dora. When she dies in a car accident, Dora takes Josue and takes a trip with him to find his father.
A Coleçao Brasil Intercultural – Lingua e Cultura Brasileira para Estrangeiros compoe-se de um conjunto de quatro volumes (livro do aluno e livro de exercicios) que cobrem os conteudos de quatro ciclos de aprendizagem de português para falantes de outras linguas, com enfoque mais especifico nos falantes de lingua espanhola…
Rosalia De Souza confirms her place in a long line of Brazilian contemporary artists as she carries on a rich tradition of great songwriting. de Souza's delightful voice charms when singing alongside superstar Marcos Valle on "Que Bandeira" and persuasively interprets "Vivo Sonhando" by the Maestro Antonio Carlos Jobim. Between these two internationally known columns of Brazilian music, she moves gently along with either Bossa or Samba, thanks to Roberto Menescal's solid hand ( and composer of the album's title song) Menescal's guidance pushes De Souza to interpret a more evocative and spiritual song such as "Jogo De Roda" by 'mestre' Edu Lobo, whose tones are ancestral.
Upon his first move away from A&M, Sergio Mendes signed with Bell, known mostly for pop fluff on the level of the Partridge Family, and practically jettisoned Brazil in search of a return ticket to the pop charts. Bones Howe is totally in charge of the production, Mendes has little to do with the arrangements (Bob Alcivar and Tom Scott handle them), and half of the material is Top 40 pop. It's surprisingly pleasant at times, too, with some traces of the Mendes '66-'77 sound still audible. But Mendes is a much more interesting musician than you'd suspect from hearing this – and no, it didn't exactly send Top 40 radio into ecstasy.