
492: A Man Called Death
2017

1983
Director
Francisco Cavalcanti
Runtime
82 minutes
Average Rating
No ratings yetSynopsis
In São Paulo, the gang of the former pimp Marcus abducts another virgin woman late night. They trade the virgin girls with three wealthy sick old men that pay a little fortune to deflower the girls. Then the gang of sex maniacs kills the women and dumps their bodies in the backwoods. The police know that the gang has abducted sixteen women and they have already found ten bodies, but they do not have any lead to find the criminals...
Overall Score
Limited
Category Breakdown
LGBTQ+ Representation
The film focuses entirely on heteronormative patterns of sexual violence. There is no evidence of queer identities or narratives that critique traditional norms through a non-cisnormative lens.
Gender Representation
Women are the central subjects of the plot but function primarily as passive victims. Male characters hold all agency, occupying roles as perpetrators, financiers, and authorities.
Racial & Ethnic Diversity
While set in São Paulo, specific casting details are unavailable to confirm racial diversity. The narrative focuses more on class-based exploitation between the wealthy and the abducted.
Religious & Cultural Diversity
The story critiques social decay and the failure of state institutions. It portrays a fractured society where wealth is used to facilitate human rights violations.
Disability Representation
The provided material contains no information regarding characters with physical, sensory, or neurodivergent disabilities.
Strengths
Areas for Improvement
AI Analysis
The film operates as a grim crime drama centered on human trafficking and systemic failure. It depicts a predatory hierarchy where male characters drive the plot through violence and financial influence, while women are relegated to objects of exploitation. While the setting in São Paulo suggests a complex social landscape, the narrative lacks specific evidence of racial or queer representation. The focus remains on the mechanics of crime and the vulnerability of individuals against an ineffective state. Ultimately, the work does not seek to subvert traditional hierarchies or promote progressive values, instead reinforcing a cycle of powerlessness among its marginalized subjects.

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