Sorry for the long synopsis (All Movie Guide), but anything less would not do it justice:

Brazil constitutes Terry Gilliam's enormously ambitious follow-up to his 1981
Time Bandits. It also represents the second installment in a trilogy of Gilliam films on imagination versus reality, that began with
Bandits and ended in 1989 with
The Adventures of Baron Munchausen. To create this wild, visually audacious satire, Gilliam combines
dystopian elements from Orwell, Huxley and Kafka (plus a central character who mirrors Walter Mitty) with his own trademark, Monty Python-
esque, jet black British humor and his gift for extraordinary visual invention. The results are thoroughly unprecedented in the cinema.
Jonathan Pryce stars as Sam
Lowry, a civil servant who chooses to blind himself to the decaying, drone-like world around him. It's a world marred by oppressive
automatization and towering bureaucracy, and populated by tyrannical guards who
strongarm lawbreakers. And
Lowry is stuck in the middle of this nightmare. Whenever real life becomes too oppressive, Sam fantasizes (to the tune of
Ary Baroso's 1930s hit "Brazil") about sailing through the clouds as a winged superhero, and rescuing beautiful Jill Layton (Kim
Greist) from a giant, Samurai warrior. The omnipresent computer that controls everything in the "real" world malfunctions, causing an innocent citizen to be arrested and tortured to death. When Sam routinely investigates the error, he meets - and pursues Jill , literally the girl of his dreams. But in real life, she's a tough-as-nails truck driver who initially wants nothing to do with him. It turns out that she is suspected of underground activities, in connection with a terrorist network wanted for bombing public places. The price Sam pays for his association with her is a close encounter with the man in charge of torturing troublesome citizens Michael
Palin. He is rescued - at the last minute - by maintenance man Harry
Tuttle, Robert De
Niro, who moonlights as a terrorist, but that only represents the beginning of his plight, for now the "system" is onto him.
Gilliam ran into enormous problems with
Brazil. Universal - which produced the picture - originally slated it for release in 1984, but the studio - intimidated by the film's whopping length of 142 minutes - demanded that Gilliam trim the film to bring it in under two hours and alter the pessimistic ending. Gilliam refused; Universal shelved the picture for a year. In response, the director took out a full page ad in Variety asking studio president Sid
Sheinberg when the film would be released. Sensing tremendous pressure, Universal bowed to Gilliam's insistence on fewer cuts but still demanded a happy ending. Gilliam trimmed only eleven minutes and altered the conclusion just slightly (instead of cutting to black, it fades into puffy white clouds on a blue sky, with a reprise of the title tune). It was thus released in early 1985 at 131 minutes, and of course became a seminal work; many critics regarded it at the time as the best film of the eighties. ~ Nathan Southern
There's not much left for me to say. This is a great film and it's one of the few times that I'd actually say, "See this movie," because, if you like movies, movies this good don't come around very often. This film is somewhat "heavier" than Gilliam's previous and post work (except for "12 Monkeys") and depicts an extremely
dystopian society.
If you decide to see it, make sure to see the unedited version and not the "love conquers all" version. Recently (Sept 2006),
The Criterion Collection released an updated dvd of the film in a single disc version or a three disc set. The single disc is the original (Terry Gilliam approved) version and the three disc set includes the original version, the "love conquers all" version and tons of extras and documentaries. Both options had been release by Criterion, in the past, but the Sept. releases have now had their sound upgraded and the images have been remastered in high-definition and enhanced for wide screen televisions which really showcase Terry Gilliam's attention to detail.