Preparing all sorts of villains that the booklet allows in the role of Irene, in A Força do Querer, in a reprise on Globo, Minas Gerais Débora Falabella has spent the last 20 years experimenting with gaps between soap operas and successful series – the new and veteran looks that the national cinema consecrates, in its search to print Brazilianness on the big screen. Two decades ago, Françoise, a short film by a fellow countryman from Gerais, Rafael Conde, marked her debut on the cinematographic planisphere.
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Right after that, he made his first feature, 2 Perdidos Uma Noite Suja (2002), José Joffily’s masterpiece, for which he received the Candango trophy for best actress in Brasília, reinventing one of the most ferocious characters in Plínio Marcos’ theatrical work ( 1935-1999): Paco crazy and dangerous. But it was “crazy and dangerous” in her reinterpretation, which returns to the exhibit circuit this week ahead of After a Mad Lou Sou Eu, by Julia Rezende. In a dialogue with the book of the same name by Tati Bernardi, Débora became Dani, a publicist and writer in a sentimental education to tame the roars of the unconscious that make her a pit of anxiety.
“Julia is a director who is very sure of what she wants, able to make a film about anxiety and have a quiet set. There were dozens of micro scenes, several costume changes, but she had the power to calmly control it, in a very feminine set. , in which I felt creating together, in a collaboration “, says the actress, who turned 42 on Monday, 22.
“Sometimes, I feel like I do little cinema and I really like sets. I like to do it itself, I like to see people working. When I did 2 Lost, it was delightful to be able to shoot in New York, not just for the city itself, but for being a place I discovered with my father, in these films. I grew up watching that place on the screens with him. The cinema is a fatherly place for me. And I really want to do other things in it. “
In her interest in the cinematographic process, Débora was, between November and December, shooting a version of Daniel Galera’s novel Cordilheira, under the direction of Fernando Fraiha, in Ushuaia, Argentina. Now, he records in São Paulo the new season of TV Globo’s Aruanas series. “It is good to see that the TV series made today have sets like those of cinema”, says the actress, who sees After Louca Sou Eu as a project “accessible to many people”. “It is a very feminine film, about a strong woman who seeks to understand herself.”
Warmly applauded in its popular sessions at the Rio 2019 Festival, After Louca Sou Eu had to stay almost 14 months in quarantine, waiting for the circuit to reopen and have a good opening for a national comedy of dramatic tones, with the author’s signature of generational chronicle typical of Julia Rezende, as seen in Ponte Aérea (2015) and Como É Cruel Viver Assim (2017).
In the plot, Dani (Débora) owns an exquisite text and unique ironic balconies, as seen in her anecdote about “the peacock”, irreproducible off the screen. Gradually, her talent is reverting to professional success, at the same time that she fences with her own heart when she is enchanted by an obstinate looser, Gilberto (Gustavo Vaz, in luminous performance), a lover who, like Dani, boycott his relationships. Speaking of the desire of these two, Julia manages to address all of Cupid’s dilemmas in these new times.
“Débora is a giant actress and a generous partner,” says Julia. “Sharing the set with her was pure joy. It reaffirmed all my admiration, which came from far away, of his career in the theater. His talent for acting in different frequencies, going from the dramatic to the comic in the blink of an eye, fascinates. With her everything seems simple, which is the greatest sophistication. “
First director to film Débora, Rafael Conde was impressed, over the four days that he filmed Françoise, with the binomial of delivery and charisma of that young actress. “There is a world within her eyes,” says Conde. “She comes from a theater family. Her father is a director. Her mother, a singer. Sister, Cynthia, is an actress. It’s an artistic universe. And she has a presence.”
Glória Perez – who created Irene from A Força do Querer for Débora and, 20 years ago, offered her the role of chemical addict Mel, in O Clone – agrees that she is an actress who magnetizes the look. “Débora is visceral: everything that falls in love with me in an actress”, says the author of TV audience phenomena, who worked with Débora in the 2014 series Identidade Dupla. “Débora wears the characters’ skin without fear or modesty. always a privilege to work with her. “
“Débora is an actress who cannot be replaced. When you think of her for one character, it is impossible to think of another,” says Joffily. “I always know that she is doing better than expected.”
Whoever opposite her thinks the same, like Rodrigo Santoro, her romantic partner in A Dona da História (2004), by Daniel Filho. “I had the pleasure of working with Débora a few times and she is always very generous, sweet and with an extraordinary talent”, says Santoro. “I have a lot of admiration for Débora, an actress who never tires of looking, always diving vertically.”