IMDb > Dona Flor and Her Two Husbands (1976)
Dona Flor e Seus Dois Maridos
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Dona Flor and Her Two Husbands (1976) More at IMDbPro »Dona Flor e Seus Dois Maridos (original title)


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Release Date:
21 June 1978 (USA) See more »
In a small city of Brazil, Flor (a very good looking woman) marries Vadinho, a very handsome and erotic man... See more » | Add synopsis »
Nominated for Golden Globe. Another 3 wins & 3 nominations See more »
User Reviews:
Bruno Barreto made this film at the age of 21 See more (9 total) »


  (in credits order)

Sonia Braga ... Dona Flor (Florípides) Guimarães
José Wilker ... Valdomiro 'Vadinho' Santos Guimarães
Mauro Mendonça ... Dr. Teodoro Madureira
Dinorah Brillanti ... Rozilda

Nelson Xavier ... Mirandão, Vadinho's Buddy
Arthur Costa Filho ... Carlinhos the Guitarist
Rui Resende ... Cazuza the Drunk
Mário Gusmão ... Arigof
Nelson Dantas ... Clodoaldo the Poet
Haydil Linhares ... Norminha, Flor's Friend
Nilda Spencer ... Dinorah, Flor's Friend
Sílvia Cadaval ... Jacy
Ivanilda Ribeiro ... Sofia a Servant
Sue Ribeiro ... Magnólia
Francisco Santos ... Venâncio, the Priest
Francisco Dantas ... Dr. Argemiro
João Gama ... Moreira, Dona Norma's Husband
Alvaro Freire ... Silvério
Hélio Ary ... Venceslau Diniz
Wilson Mello ... Vivaldo
Lourdes Coimbra ... Dionísia a Hooker
Miguelão ... Paranaguá Ventura
Manfredo Colassanti ... Pelanchi
Antonio Ganzarolli ... Dedinho
Jurandyr Ferreira ... Emílio Veiga
Mara Rúbia ... Claudete
Lícia Magna ... Filó
Joaquim Menezes ... Comendador
Orlanita Ribeiro ... Woman
Antônio Victor ... Antiógenes
José Ribeiro ... Gerônimo
Cláudio Mamberti ... Man
Dita Corte Real ... Inácia
Marta Anderson ... Mirabel
Eliane Rogério ... Tavinha
Betty Lago ... Zizi
Marta Moyano ... Amália
Gigi ... Girl
Zé Anão ... Man
Heleno Lopes ... Man
Betty Faria ... Leniza Mayer the Famous Singer
rest of cast listed alphabetically:
Fernanda de Jesus

Mercedes Ruehl ... American girl in casino

Directed by
Bruno Barreto 
Writing credits
(in alphabetical order)
Jorge Amado  novel
Bruno Barreto 
Eduardo Coutinho 
Leopoldo Serran 

Produced by
Lucy Barreto .... supervising producer
Luiz Carlos Barreto .... producer
Nelson Porto .... associate producer
Newton Rique .... producer
Paulo Cezar Sesso .... associate producer
Original Music by
Chico Buarque de Hollanda 
Francis Hime 
Cinematography by
Murilo Salles 
Film Editing by
Raimundo Higino 
Production Design by
Anisio Medeiros 
Costume Design by
Anisio Medeiros 
Makeup Department
Jaque Monteiro .... makeup artist
Production Management
Ivan De Souza .... production manager
José Carlos Escalero .... production manager
Second Unit Director or Assistant Director
Jorge Durán .... assistant director
Sound Department
Walter Goulart .... sound
Roberto Leite .... sound assistant (as Roberto Melo)
Victor Raposeiro .... sound recordist
Special Effects by
Manoel de Araujo .... special effects
Other crew
Rudy Bohn .... title designer
Cyro Del Nero .... title designer

Production CompaniesDistributors

Additional Details

Also Known As:
"Dona Flor e Seus Dois Maridos" - Brazil (original title)
See more »
110 min
Color (Eastmancolor)
Sound Mix:
Filming Locations:

Did You Know?

It was the most watched film in Brazilian theaters, holding the record for 20 years until Titanic (1997) release.See more »
Movie Connections:
Referenced in Esperando Godard (2012)See more »
O Que Será (À Flor da Terra)See more »


This FAQ is empty. Add the first question.
Bruno Barreto made this film at the age of 21, 24 June 2015
Author: lasttimeisaw from Cairo, Egypt

Talking about prodigy filmmakers, Xavier Dolan might feel threatened, at the age of 21, Brazilian director Bruno Barreto's third feature DONA FLOR AND HER TWO HUSBANDS (adapted from Jorge Amado's namesake novel), became the most successful film in Brazilian history, a record it would retain for about 35 years, and it launched its star Sonia Braga onto international stardom, who would reach the apogee in her iconic turn in KISS OF THE SPIDER MAN (1985, 9/10) as the embodiment of the titular spider woman.

Death precipitately befalls during the exotic festivity of a cluster of people dancing and courting a mulatto in a Brazilian town, and the deceased is Vadinho (Wilker), a young man in his early thirties, and the causes of his death are multiple. He is survived by his wife Dona Flora (Braga), and she starts to recollect their seven-year marriage and it turns out Vadinho is a complete good-for-nothing except his amorous sexual desire. He is a chronic gambler, an inherent womaniser, a boozer and whore-monger with a tendency for domestic violence. And Dona is a sultry beauty, but also a religious wife, she puts up with him in spite of all the suffering and abuse, since occasionally she can find the ephemeral satisfaction in their torrid love-making. But in the eyes of others, like Dona's mother and her close friends, who keep grousing about why she is so submissive towards Vadinho's tyranny, their marriage is a total mismatch judging by the face value.

When Vadinho is out of the picture, everyone is hoping for a new bright future for Dona, including herself, she is tormented by his sudden death, but is also looking forward to commencing a brand new chapter of her life. So she marries to a second husband, a middle-age pharmacist Teodoro (Mendonça), the exact opposite of Vadinho, a respectful man with a prospective future, but pedantic and boring, and worst of all, the sex is dreadful, comically marked out by Barreto in their wedding consummation with droll earnestness.

Commendably, the film focuses on a woman's conundrum between two polarised types of men, edifies with the motto "happiness does not equal romance" and then establishes Dona as a token of woman's sexual liberation by creating an imaginary ménage-a-trois situation with no rationale behind it. Barreto affirmatively betrays his young age through mischievousness of twisting the irony of fate and whimsies in engineering its saucy sex scenes with inordinate indulgence. Especially Wilker is not such a hotrod gaging by today's standard, watching him flaunt his flabby body in the buff and ca-noodle Braga again and again only solidifies one thing: she deserves someone much better, and the exploitation of her sex appeal out-paces the requirement for a committed performance, which she invests profoundly in the character development.

As far as the film is concerned, although sometimes verbosely executed, but who can resist its fetching charm of a strange land with all its whistles and bells function in full mode, plus a hindsight of Barreto's young age can only attribute more to his precocious expertise, a creditable achievement indeed.

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