A hugely talented but socially isolated computer operator is tasked by Management to prove the Zero Theorem: that the universe ends as nothing, rendering life meaningless. But meaning is what he already craves.
The discovery of a severed human ear found in a field leads a young man on an investigation related to a beautiful, mysterious nightclub singer and a group of psychopathic criminals who have kidnapped her child.
Sam Lowry is a harried technocrat in a futuristic society that is needlessly convoluted and inefficient. He dreams of a life where he can fly away from technology and overpowering bureaucracy, and spend eternity with the woman of his dreams. While trying to rectify the wrongful arrest of one Harry Buttle, Lowry meets the woman he is always chasing in his dreams, Jill Layton. Meanwhile, the bureaucracy has fingered him responsible for a rash of terrorist bombings, and both Sam and Jill's lives are put in danger. Written by
Philip Brubaker <email@example.com>
The dates on Buttle's paperwork shows he was received by the MOI on June 31, 1984. This would be another reference to it being called "1984 and a half" since it is half way through the year. See more »
Sam is looking at his newly-issued badge upside down during a stressful encounter with security forces. He simply reads that badge number backwards. Quite an intentional element of the script. See more »
[TV commercial jingle]
Central Services: We do the work, you do the pleasure.
TV commercial pitchman:
Hi, there. I want to talk to you about ducts.
See more »
Sidney Sheinberg's name is listed in the credits next to Worst Boy. Terry Gilliam and Sheinberg fought notoriously over the content and release of the film. See more »
Brazil is a mad, paperwork obsessed, duct filled, shopping crazy world. In fact, Brazil is today, minus the ducts. Everyone is obsessed with shopping and in order to get anything done within the world of government, there is paperwork to be filled out, and filled out and on and on. Terry Gilliam's Orwellian nightmare is like a merging of Metropolis and his own mad drawings and cut outs the linked the sketches in Monty Python's Flying Circus. Bureaucrats abound in Gilliam's vision, and they run the place. Anyone with free will and imagination is thought to be dangerous. Visually, the film is a marvel of art direction and miniatures flawlessly edited together. So, be like Harry Tuttle. Go out, become a freelance guerilla plumber and try not to get consumed by paperwork. One last item. If you can, get the Criterion version of Brazil. It's the film that Terry Gilliam intended you to see.
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