Cobrador: In God We Trust

Synopsis: 1) globalization of violence, violence of globalization? 2) serial killers, social killers? 3) a mine in brazil some murders in new york others in miami how are they connected? 4) "who's putting dynamite at the head of the century" asks tom zé -singing- at the end of the film 5) "cobrador - in god we trust" is an invitation to search the answers to these questions. "cobrador - in god we trust" is an attempt to find the answers to these questions.
Genre: Drama
Director(s): Paul Leduc
  3 wins & 8 nominations.
92 min

No. It's a kid.

Have you ever killed

a seven-year-old kid?

I once had a couple of kids

shot in the palms of their hands

because they stole a couple of packages.

They must have been ten years old.

You have to set an example.

Why do you want to kill this kid?

I want his mother to suffer.

She humiliated me.

Are you still in love

with that son of a bitch, Huh, Soraia?

Shut the f*ck up.

You know he's not worth shit.

She's the one whom I want to make suffer.

I'm gonna kill that faggot.


He won't matter,

she won't suffer with that.

Leave it to me.

The kid doesn't need to suffer.

I never break my promises, Soraia.

I'm gonna blow his fucking head off.

Then I'm gonna throw him

on his mother's doorstep.

No Soraia, let me sleep.

It was a tough day.



Is the white girl still at your place?

And she'll never leave.

This one is on her way here.

With him?


She believes her parents were murdered.

But Interpol

has not confirmed that yet.

You could fit France three times

right there in the jungle.

And this all belongs to the Americans.

Everything they take is powdered.

Powdered milk, gold powder,

and even cocaine powder.

And bits and pieces of people too.

Organs, prostitutes.

Children. You name it!


Apparently it makes people

feel rejuvenated, powerful!

This is the mining area.

Thousands upon thousands of men.

Right there.

You can almost picture it.

Just hammering and digging.

Good morning.

Those pictures

were taken in the 80's.

But now things have changed.

We used to hold

Today everything is gone.

Not enough work.

What's your name?


Miguel, have you seen the man from

the picture walking around here?


Hi, Miguel. Did you find him?

I did. He's over there, hiding.

It looks like he's not alone.

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Rubem Fonseca

Rubem Fonseca (born May 11, 1925) is a Brazilian writer. He was born in Juiz de Fora, in the state of Minas Gerais, but he has lived most of his life in Rio de Janeiro. In 1952, he started his career as a low-level cop and, later became a police commissioner, one of the highest ranks in the civil police of Brazil. Following the steps of American novelist Thomas Pynchon, a close friend of Fonseca, he refuses to give interviews and feels strongly about maintaining his privacy.His stories are dark and gritty, filled with violence and sexual content, and usually set in an urban environment. He claims a writer should have the courage to show what most people are afraid to say. His work is considered groundbreaking in Brazilian literature, up until then mostly focused on rural settings and usually treating cities with less interest. Almost all Brazilian contemporary writers acknowledge Fonseca's importance. Authors from the rising generation of Brazilian writers, such as Patrícia Melo or Luis Ruffato, have stated that Fonseca's writing has influenced their work.He started his career by writing short stories, considered by some critics as his strongest literary creations. His first popular novel was A Grande Arte (High Art), but "Agosto" is usually considered his best work. In 2003, he won the Camões Prize, considered to be the most important award in the Portuguese language. more…

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Submitted on August 05, 2018


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