A Hitler robot, designed to erect a “truly radical fascism”, who makes Hitler look like a conservative democrat by comparison, stalks the muddy favelas of a Brazilian megalopolis. A giant sumo wrestler, Jesus Christ and a troupe of Nazis joint his quest, die repeatedly and resurrect from the dead to create havoc in Brazil’s everyday life of 1968. Josè Agrippino de Paula’s film is the most outlandish, psychedelic-didactic political grotesque of the Brasilian Brazilian? Sixties, both surrealist and eminently documentary, an absurdist piece of theater in black and white that speaks volumes about the early days of the military dictatorship.