Pornochanchada (Portuguese pronunciation: [poʁnoʃɐ̃ˈʃadɐ]) is the name given to a genre of sex comedy films produced in Brazil that was popular from the late 1960s after popularity of commedia sexy all'italiana. By the 1980s, with the wide availability of hardcore pornography through clandestine video cassettes, the genre suffered a considerable decline. Its name combined pornô (porn) and chanchada (light comedy), as itself combines comedy and erotica.[1][2]

Pornochanchadas were massively produced in the downtown quarter of São Paulo that was nicknamed "Boca do Lixo" ("Garbage Mouth"). The genre was usually seen as a part of low-budget films produced there, collectively known as Mouth of Garbage Cinema.[3][4] Later, there were productions in Rio de Janeiro as well, creating the subgenre pornochanchada carioca,[5] which was to find its star in Alba Valeria during the early 1980s.

Pornochanchadas were generally in line with sex comedies produced in other countries (Italy, Germany, Spain, U.S., Argentina, Mexico, etc.), but also featured some Brazilian peculiarities.


The prominent actresses were Helena Ramos, Aldine Müller,[6] Matilde Mastrangi, Sandra Bréa, Nicole Puzzi, Monique Lafond, Nádia Lippi, Patrícia Scalvi, Rossana Ghessa, Zilda Mayo, Zaíra Bueno, Kate Lyra, Vanessa Alves, Meire Vieira, Adele Fátima, and Marta Anderson. After the end of the pornochanchada era, they moved to telenovelas and/or more mainstream genres of cinema. Actresses like Vera Fischer and Sônia Braga have also appeared in pornochanchadas. The most popular actors were David Cardoso (presented as the symbol of Brazilian machismo, who was also a director and the owner of the production company Dacar) and Nuno Leal Maia. Among the distinguished directors of the genre were Ody Fraga, Tony Vieira and Jean Garret.

Influence of politics

Despite conditions of strict censorship in Brazil in that era due to the military dictatorship in Brazil, the state-run film company Embrafilme was generally eager to support pornochanchadas, because they were not critical of the government and did not depict explicit sex.[7][8] Producers became increasingly dependent on pornochanchadas to compete with American films and to guarantee immediate returns. As the genre's success grew, the term began to be indiscriminately applied to various types of films that focused on sexual relationships. Some Nelson Rodrigues adaptations were among such films.

After the end of the military regime in 1985, repressive measures on cinema and television were lifted, marking a virtual end for pornochanchada. The Brazilian Constitution of 1988, and the subsequent Fernando Collor's government termination of Embrafilme in 1990, marked the end of the era of nudity and sex as a means of drawing mass audiences to Brazilian films. It brought to a close a generation of directors, writers and actors associated since the sixties with the Cinema Novo movement, many of whom were involved at one time or another with pornochanchadas.

Notable films

See also


  • Dennison, Stephanie (2004). Popular Cinema in Brazil: 1930-2001. Manchester University Press. ISBN 9780719064999.
  • Johnson, Randal; Stam, Robert (1995). Brazilian Cinema. Columbia University Press. ISBN 9780231102674.


  1. ^ Johnson & Stam 1995. p. 269
  2. ^ Dennison 2004. p. 157
  3. ^ Lesser, Jeff (2007). A Discontented Diaspora: Japanese Brazilians and the Meanings of Ethnic Militancy, 1960–1980. Duke University Press. ISBN 9780822340812.
  4. ^ Shaw, Lisa; Dennison, Stephanie (2005). Pop Culture Latin America!: Media, Arts, and Lifestyle. ABC-CLIO. p. 262. ISBN 9781851095049.
  5. ^ Dennison 2004. p. 161
  6. ^ Maria M. Delgado; Stephen M. Hart; Randal Johnson (14 March 2017). A Companion to Latin American Cinema. Wiley. pp. 33–. ISBN 978-1-118-55752-5.
  7. ^ Johnson & Stam 1995. p. 405
  8. ^ Dennison 2004. p. 158
A Árvore dos Sexos

A Árvore dos Sexos is a 1977 Brazilian pornochanchada film directed by Silvio de Abreu.

Adriana Prieto

Adriana Prieto (1950, Buenos Aires - December 24, 1974, Rio de Janeiro) was a Brazilian actress. Her mother was Brazilian and her father was a Chilean diplomat. In 1954, the family settled in Rio de Janeiro. She died in a road accident when her Volkswagen Beetle was violently struck by a police car.

The film that brought Prieto fame was El Justicero (1966) by Nelson Pereira dos Santos, a satire of hypocritical morals of carioca bourgeoisie, which earned her the "Best Supporting Actress" award by the Governorship of Rio de Janeiro. On TV, her first appearance to a broader public was with A Rainha Louca, a telenovela of Rede Globo in 1967. The series was an adaptation of Mémoires d'un médecin: Joseph Balsamo by Alexandre Dumas. She also appeared in plays by notable playwrights such as Henrik Ibsen, Nélson Rodrigues, and Augusto Boal but she finally decided to pursue her career in cinema. Her 1969 film, A Penúltima Donzela, by Fernando Amaral and her 1971 film, Lúcia McCartney, Uma Garota de Programa, by David Neves were of particular success.The turning point in her career was A Viúva Virgem (1972) by Pedro Carlos Rovai, which was conceived as a social satire but inevitably seen as a precursor of pornochanchada conventions. In this film, Prieto played the role of Cristina, a young girl who gets married to a powerful coronel from Minas Gerais but left as a "virgin widow" when her older husband dies on the wedding night. Her last film, O Casamento (1975), by Arnaldo Jabor was about the decadent bourgeoisie, a common theme in many other works of Nélson Rodrigues, accompanied by a story of incestuous love.

Aldine Müller

Aldine Müller (born October 8, 1953) is a Brazilian actress. She was a key figure in the sexploitation film genre known as Pornochanchada in Brazil in the 1970s.Müller was born in 1953 to a Portuguese mother and an Italian father. She was married and has an adult son, Cézar Raspini da Fonseca.

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De Pernas pro Ar

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The film had its premiere on December 25, 2010, with official debut on December 31, 2010. Its sequel, De Pernas pro Ar 2, debuted in Brazilian theaters on 28 December 2012.

De Pernas pro Ar 2

De Pernas pro Ar 2 is a 2012 Brazilian comedy film, directed by Roberto Santucci and written by Mariza Leão. It is a sequel of the 2010 film De Pernas pro Ar, starring Ingrid Guimarães, Bruno Garcia, Maria Paula, Eriberto Leão, Denise Weinberg, Cristina Pereira and Christine Fernandes.

It was the first film broadcast via satellite to movie theaters in Brazil. On December 20, 2012 the film was broadcast simultaneously in two special sessions for special guests: one at the Cine Carioca in Rio de Janeiro, and another at the Cine Roxy, in Santos.

Histórias Que Nossas Babás Não Contavam

Histórias Que Nossas Babás Não Contavam (Stories Our Nannies Don't Tell) is a Brazilian film of 1979 directed by Oswaldo De Oliveira and written by Ody Fraga. It is an adaptation of Snow White story. Although it failed to secure its lead actress stardom, it is considered as a classic of pornochanchada genre with blending chanchada, elements of softcore, a superficial content, and a vulgar sense of humour.

The film features an Afro-Brazilian actress, Adele Fátima, as Snow White. Snow White is not named "White" (branca) but clara (a Brazilian racial term similar to "high yellow", morena clara in full). Also the name "Clara das Neves" may be read as a real person's name. The forest in the film is a jungle home to wild animals such as jaguars, monkeys, and some odd white rabbits. Snow White dances to a samba-canção played and sung by the Dwarfs. Characters of the Dwarfs are influenced by the Disney movie.

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Nuno Leal Maia

Nuno Leal Maia (born 17 October 1947) is a Brazilian actor. Born in Santos, São Paulo, Maia started his career as a stage actor in the 1970s, and then debuting on cinema in the 1973 film Anjo Loiro starred by Vera Fischer. Maia became notorious for his role on the 1979 pornochanchada film Bem Dotado – O Homem de Itu, having appeared in more than 30 films since then as well as in television series and telenovelas.

Opera film

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Rita Cadillac (Brazilian entertainer)

Rita de Cássia Coutinho, known as Rita Cadillac, (born 13 June 1954) is a Brazilian dancer and singer. She took her stage name from Rita Cadillac, an acclaimed French dancer of the 1950s and 1960s. She is a former chacrete, a special name to identify the dancers who appeared in the TV shows hosted by Chacrinha.Cadillac was born in Rio de Janeiro. In 1982, she co-starred with Gretchen in the pornochanchada Aluga-se Moças and made a brief cameo appearance as herself in the 2003 film Carandiru.

In 2004, Cadillac (who was then 50 years of age) made a contract with porn producers Brasileirinhas in exchange for 500,000 R$. From 2004 to 2009, she appeared in 11 pornographic films for Brasileirinhas. In 2009, she was influential in launching a new adult model career for the dancer who then started to be promoted under the alias "Cléo Cadillac".At Brazilian local elections in 2008, she ran as a candidate of Brazilian Socialist Party for Praia Grande city council.In April 2010, the documentary Rita Cadillac - A Lady do Povo was released in Brazil. The film depicts her life since childhood until 2007 (year of production).In July 2017, Cadillac appeared with Gretchen in a Netflix Brasil commercial to promote the series GLOW.

Sex comedy

Sex comedy or more broadly sexual comedy is a genre in which comedy is motivated by sexual situations and love affairs. Although "sex comedy" is primarily a description of dramatic forms such as theatre and film, literary works such as those of Ovid and Chaucer may be considered sex comedies.

Sex comedy was popular in 17th century English Restoration theatre. From 1953 to 1965, Hollywood released a number of "will she or won't she?" sex comedies, starring Doris Day, Jack Lemmon and Marilyn Monroe. The United Kingdom released a spate of sex comedies in the 1970s notably the Carry On series. Hollywood released Animal House in 1978, which was followed by a long line of teen sex comedies in the early 1980s, e.g. Porky's, Bachelor Party and Risky Business. Other countries with a significant sex comedy film production include Brazil (pornochanchada), Italy (commedia sexy all'italiana) and Mexico (sexicomedias).

Sexploitation film

A sexploitation film (or "sex-exploitation film") is a class of independently produced, low-budget feature film that is generally associated with the 1960s, and that serves largely as a vehicle for the exhibition of non-explicit sexual situations and gratuitous nudity. The genre is a subgenre of exploitation films. Sexploitation films were generally exhibited in urban grindhouse theatres, the precursor to the adult movie theaters of the 1970s and 1980s that featured hardcore pornography content. The term soft-core is often used to designate non-explicit sexploitation films after the general legalisation of hardcore content. Nudist films are often considered to be subgenres of the sex-exploitation genre as well. "Nudie" films and "Nudie-cuties" are associated genres.

The Virgin and the Macho Man

The Virgin and the Macho Man (Portuguese: A Virgem e o Machão) is a 1974 Brazilian sex comedy film directed by José Mojica Marins under the pseudonym J. Avelar. It is also Marins' first film in the pornochanchada genre.

Victor di Mello

Victor di Mello (born July 18, 1940 in Rio de Janeiro) is a Brazilian actor, film director and screenwriter.

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