[{"data":1,"prerenderedAt":-1},["ShallowReactive",2],{"title-movie-1128792-en-US":3},{"detail":4,"match":293,"insight":294,"providers":295,"providerLink":25,"trailer":25},{"id":5,"adult":6,"title":7,"video":6,"budget":8,"genres":9,"status":13,"videos":14,"credits":16,"imdb_id":66,"revenue":8,"runtime":67,"similar":68,"tagline":270,"homepage":271,"overview":272,"softcore":6,"popularity":273,"vote_count":8,"poster_path":274,"release_date":275,"vote_average":8,"backdrop_path":276,"origin_country":277,"original_title":7,"watch\u002Fproviders":279,"spoken_languages":281,"original_language":105,"production_companies":285,"production_countries":290,"belongs_to_collection":25},1128792,false,"Atención! 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But the 1969 agrarian reform marked a before and after in the country's story - a profound change that Peruvian cinema reflected and encapsulated, creating great imagination we continue to discover today. 50 years after the social experiments of the revolution, we ask ourselves whether Peru really messed up or not with Juan Velasco Alvarado.",[11,97],36,1.3464,21,"\u002FpI8Fwx2CZhyApeMbbipoDiPO8VS.jpg","2019-10-10",8.2,"\u002FspWx0eGjdwhOg4lP9vKL2AWfXd6.jpg","La Revolución y la Tierra","es",{"id":107,"adult":6,"title":108,"video":6,"overview":109,"softcore":6,"genre_ids":110,"popularity":111,"vote_count":8,"poster_path":112,"release_date":113,"vote_average":8,"backdrop_path":114,"original_title":108,"original_language":91},648822,"LGBTs no regime militar","In 1980, the first march of gays, lesbians and transvestites took place in Brazil in protest against the constant police operations that took place in São Paulo, which aimed to repress these groups.  Based on Renan Quinalha's doctoral thesis, “Against morality and good customs: the sexual politics of the Brazilian dictatorship (1964-1988)”, carried out by the Institute of International Relations, a series of four 5 minute videos about the birth of the LGBT movement during the Military Regime.",[11,97],0.7705,"\u002FbphtExn7Je9CgmMfeZShW7RDtk.jpg","2018-06-29","\u002F6KRiQP2GAgQBxUIGApClNx93D3U.jpg",{"id":116,"adult":6,"title":117,"video":6,"overview":73,"softcore":6,"genre_ids":118,"popularity":119,"vote_count":8,"poster_path":120,"release_date":121,"vote_average":8,"backdrop_path":122,"original_title":117,"original_language":91},818977,"Manoel Lisboa: Herói da Resistência à Ditadura",[11],0.542,"\u002Fjfuv202hEDOFKO3WtnJ7VEeTm5r.jpg","2016-09-29","\u002Fs5KsmkVIRxJlkEsLUHxrqmIPWY4.jpg",{"id":124,"adult":6,"title":125,"video":6,"overview":126,"softcore":6,"genre_ids":127,"popularity":128,"vote_count":8,"poster_path":129,"release_date":130,"vote_average":8,"backdrop_path":131,"original_title":125,"original_language":91},826493,"Inês","Triggered by congressman Jair Bolsonaro’s homage to the torturer Carlos Alberto Brilhante Ustra, during president Dilma Rousseff’s impeachment hearing in 2016, Inês, a 70 year-old actress, starts a fragmented narrative of her own history, transforming the memories of her youth as an artist and guerrilla fighter during the military dictatorship into performances. Using as a starting point her participation in Teatro Oficina's 1967 production of the play \"King of The Candle\", by Oswald de Andrade, Inês creates a manifesto in defense of art's political strength, intertwined with memories of lost love and resistance.",[11],1.292,"\u002Fg5hzlSL4ONyFCGCDLGBiSZsO5us.jpg","2020-12-15","\u002FgPDhIKTeP1CBl63bGuNNm1gvo0h.jpg",{"id":133,"adult":6,"title":134,"video":6,"overview":135,"softcore":6,"genre_ids":136,"popularity":137,"vote_count":32,"poster_path":138,"release_date":139,"vote_average":140,"backdrop_path":25,"original_title":134,"original_language":91},270507,"Você Também Pode Dar um Presunto Legal","Amid the civil-military dictatorship implanted with the 1964 coup, Sergio Muniz had the idea of making a documentary about the action of the Death Squad. At the time,  the press still had some freedom to disseminate the work of these death squads formed by police officers of various ranks, and that he acted on the outskirts of cities like Sao Paulo and Rio de Janeiro. The victims of police repression (as today) were men, poor and black, and this condition is supposed criminals.",[11],0.9705,"\u002Fuy6DtELaFsU5bIN7tIi7UkIzFgs.jpg","2006-07-05",7,{"id":142,"adult":6,"title":143,"video":6,"overview":144,"softcore":6,"genre_ids":145,"popularity":146,"vote_count":8,"poster_path":147,"release_date":73,"vote_average":8,"backdrop_path":25,"original_title":148,"original_language":149},645889,"Two Years, Four Months, A Day","With no choice, César faced leaving his family behind, quitting his job and joining the Army. In an unprecedented chain of events he became the first conscientious objector in Galicia (Spain) to be put in prison. 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This was made possible by Oscar Serrano and Ángel Abus—activists and bank employees—who spent two years preparing what would become the biggest blow to the dictatorship's finances. Forty years later, Oscar and Ángel, along with a group of actors, recreate those events that changed their lives. In this dialogue between generations, the young people transform their perspective on activism and commitment during those years. 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In the mid-1990s, they began gathering outside of accused perpetrators’ homes and workplaces to publicly shame them and raise awareness about the government’s systematic and brutal targeting of its people — and how it had gone unpunished. The human rights group HIJOS (Sons and Daughters for Identity and Justice Against Forgetfulness and Silence) led and labeled this direct-action style of protest “escrache,” or exposure.",0.9541,"\u002F7WnFRfBTGWVTZ6iiXLZei1DPGu5.jpg","2020-12-04","\u002F6k8jsRtRSUX96VEdqT4yp5Af1Uz.jpg",[278],"US",{"results":280},{},[282],{"name":283,"iso_639_1":105,"english_name":284},"Español","Spanish",[286],{"id":287,"name":288,"logo_path":289,"origin_country":278},32686,"The New York Times","\u002F6sDPxaKC0rGfxeWueXsYXu5YlDU.png",[291],{"name":292,"iso_3166_1":278},"United States of America",45,"A documentary story that tends to land well.",[]]