Born in Buenos Aires on 7 February; nationalized Brazilian in 1970.
His early years passed between the capital Buenos Aires and Mar del Plata, and in as possible are overturned in reading and began to show a great interest in the cinema, watching all the movies could in those places that passed through. Before leaving for Europe with 17 years, acted as a helper in the film the Italian Dino Risi (1963) nerve. For several years worked in many film production was unable to (The Last Trumpet, 1964;) Chimes at midnight, 1966; etc.). Five years later he/she returned to Brazil and in São Paulo was contacting a number of people that would launch film projects, most documentaries about social and artistic aspects of the city.
His first feature film was O rei da noite (1976), and the collected the night of Sao Paulo and all those characters that come to life in its streets and unclean places. The economic results were very tight, but allowed the director to continue his professional career. After another documentary film he/she directed Pixote, the law of the weakest (1980), committed critical story about the performance of official institutions in the world of childhood and marginalization. The quality of this work and the numerous international awards, make Babenco in one of the most renowned directors of Brazilian cinema.
His next challenge was the adaptation of the novel by Manuel Puig of women Kiss spider, perform complex production but that its final phase - with the presence of the actors Raúl Juliá and William Hurt - managed to get ahead and become one of the most resonant successes of his career and of the Brazilian cinema film. This film won numerous international awards, including the Oscar best actor for William Hurt.
Your rear projection is specified in two productions in the line of American cinema, with stellar deals (Jack Nicholson, Meryl Streep, Tom Berenger, Darryl Hannah) and subjects very dear to the director (the social problems of a country reflected in the life of one family either, and a story focusing on the indigenous world with a background in religion and nature).
Documental:1969: A evolução do futebol and Natal em São Paulo.1970: Sao Paulo 70 and Carnaval da vitoria.1971: Museum of art of Sao Paulo.1973: Teste, Brazil Export, or green future, to vidro, Panorama of architecture paulista and O floresta fabulous Fittipaldi.
Largometraje:1975: O rei da noite.1977: Lúcio Flávio, Controle da agonia.1980: Pixote, the law of the more fuerte.1985: the kiss of the female arana.1987: hierro.1991 stem: playing in the fields of the Lord.
LOVE RODRÍGUEZ, Víctor M.: Héctor Babenco. A proposal of film reading. Madrid. Dykinson. 1994.
LOVE RODRÍGUEZ, Víctor M.: The new Brazilian cinema (1954-1974). Madrid. Dykinson. 1994.
KENNEDY, William: Ironweed. Barcelona. Seix Barral. 1984.
LOUZEIRO, José: Lúcio Flávio, O Controle da agony. Rio de Janeiro. Nova Fronteira. 1985.
PUIG, Manuel: The kiss of the female spider. Barcelona. Seix Barral. 1988.
RAMOS, Fernão: History do cinema brasileiro. São Paulo. Art editor. 1987.