: O veterano tcheco naturalizado brasileiro, Roberto Cordovani, deu vida ao pai de Bentinho com rigor teatral. O Legado de Dom Casmurro na Tela
Captured with "eyes like a tide," the actresses embody the mystery and perceived duplicity that drive Bento to madness.
into an avant-garde visual mosaic. Rather than a literal adaptation, Carvalho describes the work as an "approximation" Seriado Capitu - Luis Fernado de Carvalho
Among the many adaptations of Machado de Assis’s work, Luiz Fernando de Carvalho’s Capitu stands as a towering achievement in Brazilian television. Originally aired as a miniseries on Rede Globo, it is not merely a straightforward retelling of the literary masterpiece Dom Casmurro ; it is a meta-theatrical, visually sumptuous deconstruction of jealousy, memory, and narrative unreliability.
Ao invés de apenas transpor as páginas do clássico romance Dom Casmurro (1899), Carvalho utilizou uma estética expressionista para mergulhar profundamente na mente atormentada, ciumenta e subjetiva de seu narrador. Disponível para o público contemporâneo na plataforma de streaming do Globoplay , a obra continua a ser objeto de estudo e fascínio devido à sua linguagem visual e narrativa única. A Ficha Técnica e a Proposta de "Aproximação" Rather than a literal adaptation, Carvalho describes the
The series features a "musical flow" with a soundtrack that transposes diverse influences—from Tchaikovsky to The Godfather theme—reflecting the "comic opera of life". Narrative and Themes
One of the series’ triumphs is its inversion of sympathy. In the book, Bentinho’s pain is the center. Here, Escobar becomes a tragic figure. Luís Fernando de Carvalho portrays him as Bentinho’s double—the man Bentinho wishes he could be: confident, worldly, successful. When Escobar dies (drowning in a moment of sublime visual poetry), the actor plays the funeral scene with devastating irony. Escobar’s corpse is serene, while Bentinho, watching, is consumed by the very jealousy that the dead man can no longer refute. Disponível para o público contemporâneo na plataforma de
The miniseries Capitu , directed by Luiz Fernando Carvalho, is not for passive consumption. It's a deliberately challenging, baroque, and fragmented work of art that trusts its audience to think. By discarding easy realism and embracing operatic ruins, anachronistic rock, and a splintered self, it achieves the impossible: it captures the un-capturable essence of Machado de Assis. It is a series about memory, jealousy, and art, where the central question— Did she or didn't she? —fades in importance, replaced by the more profound and painful exploration of how we remember, how we lie to ourselves, and how we are eternally shaped by our own suspicions. It is a testament to what television can be when placed in the hands of a true artist.
Carvalho wisely refuses to answer. He simply presents the waves. If you love Brazilian literature, you owe it to yourself to see Capitu not just through Bentinho’s paranoid eyes, but through the honest, skilled, and haunting gaze of Luis Fernando de Carvalho.