Netflix has also revealed new images for the banner titles “Olhar Indiscreto” by Mixer Films (“O Negócio”) and “Maldivas” by O2 Films by Fernando Meirelles (“City of God”).Īlso on the Netflix slate is Brazil’s first action movie, “Carga Máxima” from Gullane Entertainment, another Brazilian producer, as well as a first picture of “Casamento a Distância” and a behind-the-scenes photo of co-stars Henry Zaga and Giulia Be in “Depois do Universo.” “When we see something of this magnitude being done in the countryside, we define it a lot…it’s immediate,” she added. “This is a very special series, with diverse artists and dialects from all over Brazil,” said Lucy Alves of the series Só Se For Por Amor, in which she stars. Produced by São Paulo Prodigo Films, “Invisible City,” the first live work title of “Ice Age” author Carlos Saldanha, has directing and producing teams operating in Belem, Pará, in the far north of Brazil. Ricos de Amor moves to northern Brazil for the second season. Last week, Netflix Brazil revealed more productions across the country’s vast terrain to bring compelling, new narratives to the platform. That stuff will be addressed elsewhere (we’re, as usual, recapping every episode), but suffice it to say that with lean episode runtimes and a compelling blend of genres, there’s enough here to pull an audience through the mystery at quite a clip.Netflix marked the five-year anniversary of domestic production releases in Brazil last November, announcing a campaign for productions outside of two traditional bases in the country, São Paulo and Rio de Janeiro. Invisible City Season 1 positions itself quickly as an unashamedly fantastical show, and it’s better for it, immediately raising countless questions about where it all might lead before the end. The early episodes are by no means shy about getting weird, and there are no attempts at ambiguity to suggest that it might all be in a grieving man’s head. But it’s an interesting hook to build a mystery around, and it becomes obvious quickly that neither Eric nor the deities know quite what is going on. The primary conflict here is unsubtle, a battle between the march of modernity and the preservation of tradition, made literal by the presence of old gods and new influences. But Gabi’s death is suspicious for reasons beyond that, and once the fish start dying, a river dolphin turns up on the beach, and another local, Manaus (Victor Sparapane), meets an even more mysterious end, Eric quickly realizes that there is something much more afoot than a simple murder-mystery - and it might even involve the modern-day versions of deities plucked from Brazilian folklore. Fulfilling the usual tortured protagonist duties is Eric (Marco Pigossi), an investigator in the Environmental Police who is pulled into a conspiracy when his anthropologist wife Gabriela (Julia Konrad) is tragically killed in a forest fire that just might have been started intentionally by a construction company trying to displace the locals so they can buy up the land.
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