Cinema Nôvo in its second wave turned to urban themes and anti-illusionist depictions of the middle-class. São Paulo, S/A, its title a pun-S/A means both "Incorporated" and "Anonymous Society" (Sociedade Anonim)-deals with the alienated labor and loves of Carlos, an upwardly mobile manager in an automotive parts factory. Eventually, Carlos marries, has children, a home-all things he is meant to want, but doesn't. Lacking, paradoxically, the freedom of marginality afforded their impoverished forbears like Antônio das Mortes or the wife in Porto das Caixas, bourgeois characters are trapped in their success, as Jean-Claude Bernardet writes: "Carlos, who is guided only by the opportunities that society offers him, who chooses neither for himself nor for others, who has neither idea or action with which to oppose the situation, who is capable only of flight, is ripe for fascism."