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 ... See full summary »
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>
When Harvey Lime goes to use his computer to look up Jill, as the camera moves forwards it hits Lime's desk and makes a loud audible thudding noise. 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 »
The only credits at the start of the film were the preliminary studio credits, a credit for Gilliam, and the title. All other credits are at the end. (Although commonplace today, the lack of full opening credits was still unusual in 1985). All versions of the film, including the "Love Conquers All" edit follow this format. See more »
Aquarela do Brasil
Music by Ary Barroso
English Lyrics by S.K. Russell
(C) 1939 by Irmaos Visale, Rio de Janeiro, Brazil
(C) 1939 by Southern Music Publishing Company Inc., New York, N.Y., U.S.A.
(C) obtained 1982 by Peer International Corporation, New York, N.Y., U.S.A. See more »
When Brazil was released, I was an early teenager and I couldn't find anything exciting in this gloomy and old-fashioned movie. How wrong I was! Since then, I've seen it again many times and have appreciated every single bit of it. It's a masterpiece and I can now say I consider it the best sci-fi film ever made! Simply brilliant! As with all great films, there's no need to describe specific scenes or events to justify its greatness. Finally, let me link this film with Monty Python works. Terry Gilliam proves here why comedy is a very serious matter. Brazil is not comedy, although it has its moments, but he makes evident that a good comedian can produce a much deeper and dramatic film than a "serious" director.
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