“Capitu is, without a doubt, more than just a milestone in terms of transposition of a classic from the Brazilian Literature to another support, it is rather an excellent occasion to think about the possibilities current available for the disclosure of literature and culture, in general, and in particular, for the generosity that is imposed in the much needed share of joy that only the geniality of an author such as Machado Assis can provide.

 “Luiz Fernando Carvalho avoid adaptations and assumed what I called ‘position’ while bringing a new approach to a great classic”

“The approximation of Luiz Fernando to Machado’s work is both faithful and unfaithful. In a typical Machadian paradox, although infidelity of the director could not be more loyal. As the writer reminded his readers at each page that he was reading fiction instead of truth, the director structured the show as a comical opera, constantly reminding the viewer that the scenario is a scenario and a character is a character, in other words: a fruit of the imagination created to enrich”

“To make images respect the margin of doubt hidden in the words is perhaps the most notable triumph of Capitu. In one aspect, the director decided to be totally literal: in the vivacity and beauty seen in the eyes of Letícia Persiles and Maria Fernanda Cândido. How to oblige a bewitched narrator to be lucid?”

“I was (very) impressed. It is a program worth of every effort to silence external noises of all kinds. Please ask those not interested in the scene to leave the room. Order installation of noise-proof windows. Turn off the phones. Sit in front of the TV as if you were in the movie theater.”

“Capitu adopts a unique fable characteristic in the Brazilian TV. (…) The illustrative option of Luiz Fernando Carvalho is faithful to the adventures of the author. “Capitu” is introduced as choreography over an eclectic musical background: from classic to rock, with the purpose of emphasizing the topicality of Machado’s work.”

“It is remarkable how the spirit of Machado’s work appears in the miniseries with its strength and sinuosity, even though the adaptation does not seem to be subordinated to the text. On the contrary, in order to be faithful, Carvalho had to resort to invention”

“One of the greatest merits of the series Capitu is the lack of any attempt to solve such doubt. On the other hand, the doubt is rather expanded”

“The realistic and aesthetic deconstruction shown in Capitu, by Luiz Fernando Carvalho, restores the subversive feature of the writing style owned by the master of metafictionality”

“This time, Luiz Fernando Carvalho reached an admirable work.”

“Carvalho releases a masterpiece to the screen forcing the audience not to accept anything already chewed, but rather to chew with Casmurro (and with them, Machado e Carvalho), in such a manner the viewer is to become a ruminant with four stomachs that will allow them to aid in the creation of the fable and of their own lives as citizens” 

 “The soundtrack of “Capitu” provides the melody for the scenes of Mrs. Glória dressing up while listening to “God save the queen” by Sex Pistols, and even manages to play a nearly full soundtrack from Beirut (…) No, the soundtrack of the show is not normal – just like pretty much everything else I watched in the first two chapters, a fact I liked very much. I would even go so far as to say I liked it so much because there is nothing normal about them.”