Mário Pimenta Camargo

reference São Paulo, Sociedade Anônima drops you straight into the chaos of 1960s Brazil, with Mário Pimenta Camargo drifting through the concrete jungle of São Paulo. He’s this regular dude, works at a car factory, and honestly, he seems kinda bored with it all. Mário’s life is a blur of endless office routines, pointless meetings, and that nagging sense of emptiness. You can almost smell the cigarette smoke and hear the hum of the city—the film’s got that gritty, gray vibe that makes you feel like you’re stuck in traffic with him. He’s got a girlfriend, Ana, and a wife, Luciana, but nothing really clicks. Relationships just pile up, kinda like the city’s high-rise buildings—cold, impersonal, and never quite finished. Mário isn’t some hero on a quest; he’s just trying to find a reason to care about anything. The existential dread is real. The movie doesn’t spoon-feed you answers either. It’s a maze of daily grind, with Mário bouncing from one half-hearted affair to the next, chasing brief moments of excitement that vanish as quickly as they arrive. The city’s expanding fast, swallowing up old neighborhoods and people’s dreams. You see all the contradictions—progress that leaves people behind, jobs that pay but don’t fulfill, love without passion. By the end, Mário’s still searching, and São Paulo just keeps moving, indifferent and relentless. It’s not a story about winning or losing—it’s that slow, sinking feeling of being stuck, watching life roll past your window.