High up in the Gávea neighborhood and surrounded by the lush Floresta da Tijuca, the house where Walther Moreira Salles and his family used to live became in 1999 the headquarters of the Instituto Moreira Salles in Rio de Janeiro. IMS Rio offers exhibitions, film screenings, concerts and cultural events, and shelters the institution’s photography, music, literature and iconography collections. The house, planned by Olavo Redig de Campos with landscape design by Roberto Burle Marx, is a landmark of 1950s modern architecture and an attraction in itself.

Rua Marquês de São Vicente, 476 - Gávea

By bus
Bus lines: Troncal 5 (Alto Gávea x Central via Praia de Botafogo); 112 (Rodoviária – Alto da Gávea via Túnel Rebouças / Rio Comprido); 538 (Rocinha-Botafogo); 539 (Rocinha-Leme); Ônibus executivo (frescão) Praça Mauá-Gávea

By car
Parking at IMS Rio is free. The parking ticket must be validated at the reception desk before exit.

Exhibitions and admission to the gardens have free admittance and must be scheduled in advance. At the time of booking, you will be asked to fill out a questionnaire about your health conditions. If you arrive 15 minutes after the scheduled appointment, you will need to re-schedule. Maximum allowed permanence in the gardens is of one hour.

The IMS is following all recommendations by municipal and state authorities, as well as by health organizations, but we cannot guarantee you will not be exposed to the SARS-CoV-2 virus. By entering our premises, you accept the risk of exposure.

If you show symptoms of influenza or covid-19 (fever, coughing, difficult breathing), follow the guidance of the health organizations and do not visit the IMS.

Bookings for the Empório Jardim cafe and restaurant must be made by phone: (21) 2239-3443 or (21) 3284-7424.

Ocupação Eduardo Coutinho

EDUARDO COUTINHO OCCUPATION

The exhibition presents the central aspects of the life and work of Eduardo Coutinho (1933-2014), one of the most important figures of documentary filmmaking in Brazil, known especially for tensioning the limits between reality and fiction. There is, for instance, a screenplay of the film Cabra marcado para morrer (billed in the US as “Twenty Years Later” and known as “Man Marked for Death”, an adaptation of the title), as well as several notebooks with Coutinho’s notes, his main tool for planning out his films.

Selected clips and testimonials by the director shed light on his unmistakable marks on Brazilian cinema, from the 1960s to the present day. In addition to that, the exhibition space includes the chair in which Eduardo Coutinho sat the people he interviewed in his most recent films, such as Jogo de cena (“Playing”). Other tools dear to the filmmaker will also be on display, such as his portable typewriter.

Ocupação also reveals some of his forays as an actor and enhances his fictionist verve through his relationship with theater and parody, dating back to the beginning of his film career. It also shows a part of Coutinho’s output that is largely unknown.