A Menina E O Cavalo 1983 Exclusive -
Just unearthed an exclusive 35mm scan of "A Menina e o Cavalo" (1983) — the lost Brazilian fantasy film that was buried for 40 years.
No digital release. No restoration. Just pure, eerie 80s analog magic.
The girl. The horse. The silence.
One thread. 🧵👇
As part of this exclusive article, we have negotiated with the Renault estate to release three still frames from the workprint (available on the next page). Furthermore, the estate has confirmed that a limited 4K scan of the workprint (minus the missing audio) will screen at the Festival do Rio in November 2025. a menina e o cavalo 1983 exclusive
It will be the first public screening in 42 years.
“A Menina e o Cavalo 1983 exclusive” is not a documented mainstream release. It likely refers to a rare, non-commercial, or regional work — possibly an educational short, a lost TV episode, or a private press publication. Further discovery requires direct archival inquiry in Brazil.
Status: Unverified / Potentially lost media.
Upon its limited release in November 1983, A Menina e o Cavalo was eviscerated by critics. Folha de S.Paulo called it “a sluggish exercise in poverty porn.” O Estado wrote, “The child cannot act, and the horse looks tired.” Just unearthed an exclusive 35mm scan of "A
But modern critics have reversed this verdict. The “poor acting” is now viewed as brutalist authenticity. Braga—who quit acting immediately after this film—delivered a performance of autistic realism before the term was understood in mainstream cinema.
Furthermore, the film is a direct precursor to the “slow cinema” movement of Béla Tarr and Carlos Reygadas. The static shots of the horse’s flank breathing for two minutes are not boredom; they are meditation.
Directed by Vítor-Ponte Correia, the film tells the story of Gláucia, a young girl who dreams of nothing more than owning a horse. Living a humble life, she takes a job at a local stable to be close to the animals she adores. The narrative follows a classic coming-of-age trajectory: Gláucia falls in love with a wealthy man, faces the disapproval of his aristocratic family, and eventually navigates a scandal that threatens her happiness.
While the plot sounds like a wholesome family drama—reminiscent of The Black Stallion or Flicka—the 1983 execution was far more mature. The film juxtaposes the innocent imagery of a girl and her horse with the harsh realities of Brazilian society at the time, including class struggles and sexual awakening. As part of this exclusive article, we have
A Menina e o Cavalo is not available on streaming, never had a DVD release, and likely exists only on a handful of deteriorated VHS tapes held by private collectors or in the archives of Rio de Janeiro’s Cinemateca Brasileira. Its exclusivity adds a mythical quality. Those who claim to have seen it describe it as "a secret treasure" or, more honestly, "beautiful but boring."
The film represents a forgotten niche of Brazilian cinema: the regional, non-commercial, family-friendly art film—a genre squeezed out by Hollywood blockbusters and local sex comedies in the 1980s.
To understand the exclusivity and curiosity surrounding A Menina e o Cavalo, one must understand the context of Brazilian cinema in the early 1980s. The industry was dominated by the pornochanchada—low-budget films that blended comedy, drama, and explicit eroticism.
Despite its title, which evokes a children's fairy tale, A Menina e o Cavalo was marketed with the sensuality typical of the era. It starred Matilde Mastrangi, a leading icon of the genre. This creates a jarring duality for modern viewers: a film that looks like a family adventure on the surface but operates under the exploitative guidelines of 80s Brazilian drive-ins.