André Newmann writes down his doctoral dissertation based on the Freudian question: Afinal, o Que Querem as Mulheres?. In the attempt to understand the female universe, André gathers testimonies from women in the most varied environments with the aid of his advisor and psychoanalyst, Dr. Klein, who assumes the appearance of the psychoanalyst Sigmund Freud in the delusions of the writer.
However, he ends up mixing up his dissertation with his own life as he becomes more devoted to his research, which eventually causes him to estrange from the love of his life, the plastic artist Lívia. Desperate with the loss of his beloved, André seeks shelter with his careful mother, Celeste. Throughout his research, he stumbles upon several female types. From Monique, an intellectual that loathes marriage and considers the Freudian’s women interpretation outdated; to Simone, the hardworking receptionist at the hotel where André starts living; From Gisele, a liberal model that opposes monogamist relationships but is afraid to be treated as “just like all others”; to Noemi, a feminist teacher whose rigid discourse does not appease its sexuality and exuberance.
André soon ends his dissertation and publishes his book, which becomes a best-seller by the time he meets Tatiana, a young Russian jailbait for whom he falls in love. With his sudden fame, he and his dissertation inspire a TV sitcom starred by Rodrigo Santoro, who, in order to better incorporate his role, decides to stalk André.
I sought a lighter narrative. Perhaps the biggest new comes from the script rather than the visual. And to do so, it was imperative the partnership with João Paulo Cuenca, Cecilia Giannetti and Michel Melamed. Despite its apparent lightness, there is a set of languages behind this work that attracts my attention and makes it somehow undefined. I wouldn’t call it a comedy or a drama.
There is an infinity of repetitions in all of us, men and women, which force us to bound every now and then on behalf of the common good, a better world, principles and high morale, to sum up, everything that seems to me rich in terms of dramaturgy. On the other hand, the repetition of such behaviors has become more tragicomic and ridiculous. If I had to summarize Afinal, o Que Querem as Mulheres? I would say: the tragedy of a ridiculous man! This show tells the pathetic trajectory of a man against the objects of his desire, love, affections and a sort of vision of the feminine that seems to devour him constantly.
I do not know how to be funny, and I do not intend to. I do not demand actors to be funny and we do not write scripts with being funny in mind, the result would be catastrophic. Contrariwise, melancholy guides me, perhaps even in the script and certainly saved me more than I can remember. I find Chaplin movies funny while at the same time they bring me down to tears, so you can have an idea of how I am just getting started. This is because I find it difficult to believe moments and narrative of the show must focus on a single genre. I keep asking myself if a good script, either modern or classic, already comes with several layers.
I would not call it comedy, but this movement is related to my curiosity for new themes and languages, a certain narrative versatility. I feel each content demands a language. And since I am unable to write a sitcom, here comes my shy attempt. We look to get closer to the language found in social networks, modern media, short dialogue, a dialogue playing the role of network comments, with more acidity, risk, a more direct language, without so many reiterations from television dramaturgy. Despite its apparent lightness, there is a set of languages behind this work that attracts my attention and that, in truth, makes it the whole something undefined in terms of genre.
Opera House [?]
At first I had the idea of working with small narratives, but to do so we needed a bigger cast. Add to that the need to keep on working on actors as co-authors of the creative process, elaborating scenes with a sufficient dose of improvisation. In the specific case of Afinal, o Que Querem as Mulheres? I decided to start with an assumption: this group of women, taking turns in several scenes and in different characters, represents the development of the main woman, Lívia, the primordial love of André. I adopted the same concept for the male characters, which are intended to represent the development of man, that is, of André himself.
Final Laughter [?]
Perhaps my avowed incapacity to translate the feminine [which is indeed so multiple] provided me the courage to create this show, which is not about finding a straight answer out of a hat or defining a genre: this is a comedy! This is a melodrama! But rather to laugh from the pathetic that exists within us [this one indeed seems to be a new genre to me!] and to keep on laughing from my eternal clichés full of formulas and certainties, and all that in the company of my new script friends, João Paulo Cuenca, Cecilia Giannetti and Michel Melamed, all sharing shabby dreams just as much as I do.
Thus, the final laughter would be this: the result of finding the emptiness that has become any official model – whether it is amorous or not. This finding gave the André the possibility of not becoming crystallized, reinventing his days with the strength to keep on loving Life and Love. André will win against himself and with inspiration from Simone de Beauvoir he is likely to tell us: “to will oneself free is also to will others free”.
By Luiz Fernando Carvalho
The soundtrack of Afinal, o Que Querem as Mulheres? was composed by two maestros: Tim Rescala and Marcelo Camelo. Each in their own time, each in their own space, studio or kitchen. We met only once, time when I realized the proportion of the risk I assumed by proposing a dialogue between creators of musical origins so distinct from each other. On that night, Camelo brought his trombone and improvised some melodies. At the same time, Tim transcribed them to a musical sheet. I saw a great deal of things on that first and last meeting, among them, the air of enchantment from Camelo, who looked at Tim as if he was looking at a magician who writes songs at the speed of light, and also his immense generosity (more like his immense denudation) in revealing that his dream was to become a maestro like Tim.
As time passed, the contrast between both illuminated the composition of scenes. The ones with a more lyric and intimate tone were naturally embracing the songs of Camelo and the most satirical ones chose Tim.
Both Camelo and Tim produced a vast amount of songs, far beyond the technical capacity supported by the CD that comes with the DVD.
ABC Award of photography
TV Show – Adrian Teijido
Afinal, o Que Querem as Mulheres? A sitcom by Luiz Fernando Carvalho
- Editora Leya
Box illustrated by plastic artist Olaf Hajek, containing six books with screenplay from episodes, in addition to illustrations, images from the show and making-of pictures.
13, Nov — 2010
The new frontier of Luiz Fernando Carvalho
- O Globo
“An oneiric trip, a visual poem.”Leia Mais
13, Dec — 2010
Afinal, o Que Querem as Mulheres?: the question remains unanswered
- O Globo
“Luiz Fernando Carvalho amazed us again by directing with tenderness and sensitivity those trips where we need to go back in order to advance.”Leia Mais
8, Nov — 2010
Freud, a comedy and a great deal of women
“Luiz Fernando Carvalho already proved he is capable of innovating on television and despite the sophisticated resources of screenplay, scenography and montage, be able to pleaser the audience.”Leia Mais
26, Dec — 2011
Miniseries that refreshed the Brazilian television, Afinal, o Que Querem as Mulheres? is now available in DVD
- O Estado de Minas
“It is worth dedicating some time in the aesthetic comfort zone offered by the conventional TV. Travel (really) through the beautiful images conducted by the firm hand of Luiz Fernando.”Leia Mais
12, Nov — 2010
After all, what do we want from television?
“I have the impression Carvalho is actually showing the audience that it is possible to look at TV from perspectives different than those established by the common sense.”Leia Mais
8, Jul — 2010
- O Globo
Luiz Fernando Carvalho: “I am always going back and forth to the same spot, to literature, because she is the one that is always teaching me. For me, the greatest filmmaker of all time was Dostoyevsky.”Leia Mais
7, Nov — 2010
Series constructs visual delirium on psychoanalysis
- Folha de S.Paulo
“Visual exuberance and frenetic crossing of narrative references are, in truth, the backbone of his stories.”Leia Mais
7, Nov — 2010
Freud explains it
- O Estado de S.Paulo
“The rehearsing process to film with Luiz Fernando Carvalho is one of his main differentials that leveraged him to a position of becoming the dream of any actor committed to his work.”Leia Mais
21, Nov — 2010
The art of dressing memories
- O Estado de S.Paulo
“Luiz Fernando Carvalho said more than once that costumes are not to be considered a mere adornment but rather the second skin of the actor, assembled on top of several layers capable of composing a character.”Leia Mais
12, Sep — 2010
Clichés in series
- Folha de S.Paulo
“Afinal, o Que Querem as Mulheres? is likely to show a creator against a cliché. Luiz Fernando Carvalho adopts the raw material from soap operas and intends to shape it into a thrilling and improvised language like jazz.”Leia Mais
11, Nov — 2010
Santoro and his other self
- O Estado de S.Paulo
Rodrigo Santoro: “I have a partnership with Luiz Fernando Carvalho since Hoje é Dia de Maria.“Leia Mais
7, Nov — 2010
With the freshness of the youth
- O Globo
Bruna Linzmeyer: “Luiz is a supersensitive person. With a glance, he already knows what is in your mind. And just by looking at him, you already know what he is up to.”Leia Mais
Afinal, o Que Querem as Mulheres? Starring Michel Melamed, Paola Oliveira, Vera Fisher, Leticia Spiller, Maria Fernanda Cândido, Dan Stulbach, Osmar Prado, Rodrigo Santoro, Eliane Giardini, Leticia Sabatella, Lavinia Vlasak, Tamara Taxman, Alessandra Colassanti, Alexandre Schumacher, Ana Kariny Gurgel, Antônio Karnewale, Bruna Spinola, Daniel Gaggini, Elizabeth Perfoll, Fernanda Félix, Giselle Ingrid, Letícia Isnard, Luciana Pacheco, Millene Ramalho, Rodrigo Pandolfo, Selma Lopes, Shirley Cruz, Suzana Kruger and Tatiana Monteiro. Presenting Bruna Linzmeyer Special Guests Carlos Manga, Tarcisio Meira, Serginho Groisman, Affonso Romano de Santanna, Anna Cristina Campagnolli, Arnaldo Marques, Cássio Pandolfi, Cecília Lage, Cláudia Paiva, Cleiton Echeveste, David Hermann, Derio Chagas, Edi Raffa, Eduardo Machado, Elaine Albano, Evandro Melo, Flavio Pardal, Graziela Alves, Ignacio Aldunate, Isabel Pinheiro, Jaqueline Sperandio, Johnson Teixeira, Jose Carlos Sanches, Leandro Castilho, Luis Washington, Maira Jung, Marcelo Trindade, Marcio Fonseca, Marcos Acher, Marina Colasanti, Mario Hermeto, Prazeres Barbosa, Xando Graça. Created by Luiz Fernando Carvalho. Written by João Paulo Cuenca. Co-writers Cecilia Giannetti and Michel Melamed. Final Text Luiz Fernando Carvalho. Costume Designer Beth Filipecki. Scenography João Irênio, Isabela Urman and Claudiney Marino. Art Production Lara Tausz. Photography direction Adrian Teijido. Soundtrack Tim Rescala and Marcelo Camelo. Edited by Márcio Hashimoto. Production Management Erika da Matta. Casting Production Nelson Fonseca. Dance Group Karla Klemente, Nathalia Lima Verde, Livia Costa, Alcione Ramos Porto and Karla Tenorio. Vocal preparation Agnes Moço. Character Makeup Rubens Libório. Illustration (Graphic Material) Olaf Hajek. Animation Cesar Coelho, Luciano do Amaral, Aída de Queiroz and Julia Cunha. Animation Voices Osmar Prado, Othon Bastos, Roberto Bonfim and Evandro Melo. Camera Murilo Azevedo. Continuity Lucia Fernanda. Assistant Director Guilherme Maia. Directed by Luiz Fernando Carvalho.