• Pra Swingar - Som Nosso de Cada Dia
  • 1_rapunzel_conceicaoSUBURBIA - Andre Mehmari
  • 2_infancia mágica SUBURBIA - Andre Mehmari
  • 3_pai_solo SUBURBIA - Andre Mehmari
  • 4_milagre SUBURBIA - Andre Mehmari
  • 5_morte_de_tiao SUBURBIA - Andre Mehmari
  • 6_pai_orgao_rabeca SUBURBIA - Andre Mehmari
  • 7_rapunzel_conceicaoSUBURBIA - Andre Mehmari
  • 8_rapunzel SUBURBIA - Andre Mehmari
  • 9_tristesse SUBURBIA - Andre Mehmari
  • 10_infancia_2 SUBURBIA - Andre Mehmari
  • 11_fim_de_mundo - Andre Mehmari
  • 12_acidente_forno - Andre Mehmari
  • 14_passagem_do_tempo - Andre Mehmari
  • Suburbia Taxi Driver 1 - Ed Motta
  • Suburbia Taxi Driver 2 - Ed Motta
  • Tema de Suburbia 2 grave - Ed Motta
  • Tema de Suburbia 1 - Ed Motta
  • Juízo Final - Clara Nunes
  • Negra - Roberto Carlos
  • Negro Gato - Roberto Carlos
  • O Bingo da Sogra - Dicró
  • the divan 1972 original - Roberto Carlos O Divã
  • 1968 – 11 O TEMPO VAI APAGAR - Roberto Carlos
  • Pagode na casa do Gago - Almir Guineto
  • Rap da Morena - MC William e MC Duda
  • A Distancia - Marcio e Goro
  • A Janela - Roberto Carlos
  • As canções que você fez pra mim - Roberto Carlos
  • Beijinho Na Boca - Beto Barbosa
  • Casa De Bamba - Martinho Da Vila
  • Como Vai Você - Roberto Carlos
  • Ela disse-me assim (Lupicinio Rodrigues) - Jamelão
  • Eu estou apaixonado por você - Roberto Carlos
  • Roberto Carlos (Lp Stereo 1968).wmv - E Não Vou Deixar Você Tão Só
  • Roberto Carlos (Compacto Simples 1968).wmv - Eu Te Amo, Te Amo, Te Amo
  • Faz um Milagre Em Mim - Regis Danese
  • Garota Nota 100 - Mc Marcinho
  • Imunização Racional - Tim Maia
  • Bagaço da laranja - Zeca pagodinho/jovelina pérola negra


Suburbia (2012)


Suburbia tells the story of Conceição, a girl from the countryside of the Brazilian State of Minas Gerais who leaves home at age 12 to go for a new life, far from the coal ovens. In Rio de Janeiro, she is taken to a juvenile institution, works as a housekeeper in a middle-class house and, later, is fostered by a loving family from the suburbs.

In this universe, Conceição falls in love with Cleiton, an angry young man who lives on the fine line between good and evil. As a beautiful young lady who dances in an alluring way, Conceição eventually catches big time. And she never loses her goodness, sticking to her principles through life’s obstacles. At the intersection of life stories depicted in the plot, the characters deal with a central issue for all of us: how can one keep fair and faithful to ethical and moral principles in such violent times, in the face of inequality and decay of values?

Director’s Vision

Luiz Fernando Carvalho (2012)

All suburbs are one suburb, from where I see, all outskirts come together, sharing the same moral, survival and justice frameworks. While thinking of such issues, image production is here characterized by an outstanding aesthetic value. This is what happens to Walter Firmo, a clear source of inspiration to me. It is a very strong, lively, in-the-flesh sensory ensemble.

The suburb has an unofficial safety net, but one that is very visible and real. The space is never confined to one’s place, rather it extends to the street in front, the square and even the neighbor’s backyard – as if in a tribe structure. There is a common space, of rites, of knowledge exchange, and affection, where everyone is kind of in the same situation. This is a perception of a way of life that may have been maculated. In the face of the pressure of consumption, which offers other meanings for happiness, a new suburban appears, the fruit of the contradictions of economic progress.

Suburbia is, in this sense, an ode to the outskirts, a great celebration of Brazil in which the true protagonists of this story are the ordinary people. Most of the stories told in the mini-series are real events of a woman who lived with me for 25 years and was a kind of a black mother for me. Conceição is the main character, an illiterate woman, who was still a girl when had to ran away from compulsory labor in the countryside of Minas Gerais. And here in Rio, she went through all those hardships and thrived.

So my ongoing concern was to depict reality in an in-the-flesh way – less dramatic and “official.” The language is that of photojournalism, which comes close to documentary. Everything is within the universe of those being portrayed. The camera is invisible and therefore allegory-free, uncontaminated, pulsating, and visceral.

In making this approach more documentary, a series of criticisms are unearthed towards the social context of such minority groups. And, in a very unplanned way, it ends up including a social reflection within the dramaturgy, adding an important social function to the text: a bond. Of course, television plays an important role in entertainment, but it cannot forget its mission of educating aware citizens.

The mini-series does not shy away from underlining certain passages and conditions of Brazilian black people, along with the issues of social exclusion and racism. Following these lines, we have a virtually unknown cast of black actors and actresses, a real find of outstanding talents. All actors except Fabricio Boliveira were unknown.

It is one thing to write from the memories of someone you have known, another is when you begin to raise this issue in the production, from the very concept to the execution. We looked for a girl to play Conceição. This actress, completely unknown at the time, had to come from the people. She had to represent actual traits of the people, the orality, characters, intuition, and intelligence of the people. These are very difficult, subtle behaviors to artistically develop and can easily look imitative – something that Nelson Rodrigues did brilliantly, establishing a set of words for each character, which was not repeated in another one’s speech.

From the moment we found our Conceição, we also came up with the synthesis of the ethical and aesthetic thinking behind the suburban representation. Meeting the actress who played Conceição set off a whole critical, thorough process in search of a cast that was realistic.


Aesthetics of the 1970’s Black American movies. Sexuality and violence are structuring elements of the narrative

Language closer to documentary. It is within the universe of those being portrayed. Invisible camera. Allegory-free language. Uncontaminated. Pulsating. Visceral.

Simplicity. Joy. Pains. The everyday struggle. Life and death. Pain and triumph.

All actors but one are quite unknown.

A minissérie não se exime de sublinhar certas passagens e condições do negro no país e das questões da exclusão e do racismo. Neste sentido, o elenco é praticamente desconhecido – uma descoberta de talentos excepcionais – e negro. Todos os atores, salvo o Fabricio Boliveira, eram desconhecidos.

Uma coisa é escrever a partir das memórias de alguém que você conheceu, outra é quando você começa a levantar essa questão na produção, no conceito, na realização da coisa. Procuramos uma menina para viver a Conceição. Esta atriz, que até então, não sabia quem era, tinha de vir do povo, porque ela tem de trazer gestos do povo, uma oralidade do povo, uma construção, uma intuição, uma inteligência do povo. São comportamentos muito difíceis e delicados de construir artisticamente e que podem facilmente soar imitativos – algo que Nelson Rodrigues fazia com brilho, determinando um conjunto de vocábulos para cada personagem, e que não era repetido na fala de outro.

A partir do momento que encontramos nossa Conceição, encontramos também a síntese de todo esse pensamento éticos e estético da representação do subúrbio. O encontro da atriz que viveu a Conceição detonou todo um processo crítico, rigoroso em busca de um elenco real.


Estética do cinema negro americano dos anos 70. Sexualidade e violência são elementos estruturantes da narrativa

Linguagem que se aproxima da documental. Está dentro do universo do retratado. Câmera invisível. Linguagem livre de alegorias. Pura. Pulsante. Visceral.

Simplicidade. Alegria. Dores. Cotidiano de batalha permanente. Vida e morte. Dor e triunfo.

Todos os atores, salvo por um, são célebres desconhecidos.

Creative Process

Sketchbooks do diretor

Actor's testimonials

Erika Januza

“At the time of the auditions, I worked at a school in the City of Contagem, in the State of Minas Gerais. One day, I was deleting emails and decided to open one: ‘Black women between 18 and 24 years old are needed for an advertising campaign.’ That will take only one photo, no big deal. I sent it, but I had no idea what it was. Then, a guy called me and said: ‘Our team liked your picture, can we meet at Praça da Liberdade on such day and such time.’ It was quite informal, a small camera on hand, he asked my name and if I enjoyed funk music. After I spoke, he said the project was a TV Globo series. Almost one month later, he called me: ‘I am glad to inform you that you have been chosen to play the mini-series main character.’ I was at school, I left the principal’s office and hugged my mother. We cried rivers right there. There is a lot in common between the story of Conceição and my own life. The funk ball, the contest. My dream is to place my feet on Sapucaí, and she becomes a drum queen. I read the story crying. A lot of things happened just like my life.”

Fabricio Boliveira

“Suburbia had a lot of new people, wonderful actors. It was fresh. My character is a guy who doesn’t complain about life. He only goes for it. In the beginning, he is a super shy boy, like there is a lot of loss behind his persona. He tries to open up in life, but life decides to take him somewhere else. It’s the story of this boy in search for himself. And I’ve taken the whole of the personas I’ve encountered in my own life in him. From a stammering, shy, wearing braces, bespectacled boy to a more self-assured, resolute boy to the man with other behavior, less aggressive, and more of a watcher. I think Cleiton has a bit of the human myth, the human saga, that in all life stages, the development of a persona, an identity building. I think Cleiton represents the human quest towards the self.”

Haroldo Costa

“I used to say that, when there was soap opera ad, black actors would do it like this: ‘Oh boy! I think I might catch a break, even if the part is at the pillory area.’ Because right now, all we have are few exceptions. The black judge, pharmacist, doctor are very far from reality. Reality is different. I think Suburbia focuses on what I called an interracial tale. Suburbia showed the nucleus of a black family for the very first time. Generally, when there are black characters, nobody knows who his father is, he doesn’t have any son, grandfather, grandson, and he’s only out there loose, like an alien. But not this time. It’s a nucleus where there is a father, a mother, a son-in-law, a son, a grandson”

Cast Preparation

Luiz Fernando Carvalho

The mini-series does not shy away from underlining certain passages and conditions of Brazilian black people, along with the issues of social exclusion and racism. Following these lines, we have a virtually unknown cast of black actors and actresses, a real find of outstanding talents All actors except Fabricio Boliveira were unknown.

It is one thing to write from the memories of someone you have known, another is when you begin to raise this issue in the production, from the very concept to the execution. We looked for a girl to play Conceição. This actress, completely unknown at the time, had to come from the people. She had to represent actual traits of the people, the orality, characters, intuition, and intelligence of the people. These are very difficult, subtle behaviors to artistically develop and can easily look imitative – something that Nelson Rodrigues did brilliantly, establishing a set of words for each character, which was not repeated in another one’s speech.

From the moment we found our Conceição, we also came up with the synthesis of the ethical and aesthetic thinking behind the suburban representation. Meeting the actress who played Conceição set off a whole critical, thorough process in search of a cast that was realistic.

The opportunity to portray humans, people from different origins, is key to my craft. I try to make a connection with the sensations and feelings of everyone, I am inside of their world. The cast of Suburbia taught me how to avoid the caricature, quirkiness, depicting a human landscape from a merely foreign, estranging and unreal point of view. These lessons are essential political statements. Complaints and stances will be useless if my routine shooting does not imply going to the extra mile to understand the others, those different from me as for their culture, class, and gender. Although often swiftly and fleetingly slipping through those hectic days, meeting each one the players was like a ray of sunlight along the journey, allowing me see their intense and special flames, with lights that bespoke deeper and truer meanings of the surrounding reality.

Depoimento dos atores

Erika Januza
“Na época dos testes, eu trabalhava em uma escola, em Contagem (MG). Um dia eu estava deletando e-mails e resolvi abrir um: ‘Precisa-se de negras entre 18 e 24 anos para uma campanha publicitária’. Só uma foto, não custa nada. Mandei, mas nem fazia ideia do que era. Aí o rapaz me ligou e falou: ‘O pessoal gostou da sua foto, você pode ir na Praça da Liberdade, dia tal, hora tal’. Foi superinformal, uma camerazinha, perguntou meu nome, o que eu fazia, se eu gostava de funk. Depois que eu já tinha conversado, ele falou que o projeto era uma série da Globo. Quase um mês depois, ele me ligou: ‘Queria te informar que você é a nova protagonista da minissérie’. Eu estava na escola, saí da sala da diretora e abracei a minha mãe. Foi uma choradeira. Há muita coincidência na história da Conceição com a minha vida. Da história do baile funk, de concurso. Meu sonha é pisar na Sapucaí, e ela vira rainha de bateria. Eu lia a história chorando. Um monte de coisa acontecendo igual à minha vida”

Fabricio Boliveira
“Suburbia teve muita gente nova, atores maravilhosos. Esse frescor. Meu personagem é um cara que não reclama da vida. Ele soluciona. Começa um garoto supertímido, com essa persona de alguém que perdeu muito. Ele tenta se abrir na vida, só que a vida o leva para outro lugar. É esse menino atrás do eu. E eu incorporei essas personas inteiras que eu fui na minha vida. De garoto gago, tímido, de aparelho, de óculos, para o garoto já mais bem resolvido, mais seguro, para o homem com outro comportamento, menos agressividade, mais observação. Acho que o Cleiton é um pouco desse mito humano, da saga, dessas fases todas que a gente passa na vida, de uma construção de uma persona, de uma construção de identidade. Acho que o Cleiton representa essa saga do humano em busca do eu”

Haroldo Costa
“Eu costumava dizer que, quando tinha anúncio de uma novela de época, os atores negros faziam assim: ‘Opa! Vai ter lugar, nem que seja no pelourinho’. Porque no momento não tem., é exceção. O juiz, o farmacêutico, o médico negro são muito distantes da realidade, quando a realidade é outra. Acho que Suburbia focaliza o que eu chamei de uma fábula inter-racial. Suburbia mostrou pela primeira vez um núcleo de família negra. Em geral, tem negro, mas ninguém sabe quem é o pai, não tem filho, avô, neto,e stá solto lá, como um E.T. Esse não. É um núcleo onde tem pai, mãe, genro, filho, neto”



The Suburbia’s soundtrack, which has a music production spearheaded by director Luiz Fernando Carvalho, was made up of almost entirely of Brazilian music, especially focusing on the black and outskirt cultures. Roberto Carlos’ romantic songs (As Canções Que Você Fez Para Mim, Eu Estou Apaixonado Por Você and O Tempo vai Apagar) are interwoven in the story of the main character, Conceição, fan of the singer-songwriter. Major classic artists of the samba genre, such as Clementina de Jesus (O Canto dos Escravos), Cartola (O Sol Nascerá) and Almir Guineto (Pagode na Casa do Gago) are mixed with popular carioca funk melodies from the early 1990s, from artists such as MC Batata (Feira de Acari), DJ Marlboro (Rap da Morena) and MC Marcinho (Garota Nota 100) and the soul and black music records. The theme song, Pra Swingar, is a 1976 composition by Pedrão and Pedrinho, from the former São Paulo rock band Som Nosso de Cada Dia. The incidental score is by multi-instrumentalist André Mehmari, in his first work for a TV series, and some compositions recorded with the Heliópolis Symphony Orchestra. Singer-songwriter Ed Motta was invited to produce the additional score and create a theme song inspired by blaxploitation, a 1970s film genre written, directed and starred by black people and that also inspired Suburbia’s conceptualization.


As canções que você fez pra mim – Roberto Carlos
O tempo vai apagar – Roberto Carlos
Eu estou apaixonado por você – Roberto Carlos
Eu te amo, eu te amo, eu te amo – Roberto Carlos
Eu não vou mais deixar você tão só – Roberto Carlos
Negro gato – Roberto Carlos
O divã – Roberto Carlos
Como vai você – Roberto Carlos
A janela – Roberto Carlos
Negra – Roberto Carlos
O sol nascerá – Cartola
Ela disse-me assim – Lupicínio Rodrigues
Juízo final – Clara Nunes
Imunização racional (que beleza) – Tim Maia



Casa de bamba – Martinho da Vila
Bagaço da laranja – Jovelina Pérola Negra
O bingo – Dicró
Pagode na casa do gago – Almir Guineto
Pra swingar – Som Nosso de Cada Dia
Beijinho na boca – Beto Barbosa
Faz um milagre em mim – Régis Danese
Rap da Morena – William e Duda
A distância – Márcio e Goró
Garota nota 100 – Mc Marcinho
Quero – Mc D’Eddy
Rap da felicidade – Mc Cidinho e Doca
Feira de Acarí – Dj Marlboro


ABC Award

Best Cinematography (Adrian Teijido)

Contigo Award (nominee)

Best New Actor (Flavio Rocha)

ABC Award

Best Cinematography (Adrian Teijido)

Contigo Award (nominee)

Best New Actor (Flavio Rocha)


DVD of the mini-series with deleted scenes in the director's cut and an essay by anthropologist and writer Luiz Eduardo Soares


Museu da Pessoa

The Museum of the Person, interested in the director’s aesthetic concept of working with non-actors and artists from the outskirts, opened a gallery to record the cast members.

Critical Fortune

15, Nov — 2015

The Intensity and Supremacy of Form in Suburbia

  • Luiz Eduardo Soares
  • Segundo Caderno / O Globo

“Luiz Fernando Carvalho has made remarkable works in the movies and TV, with widely recognized aesthetic boldness. The commitment with form is now exercised in the Suburbia series, showcasing Rio’s society in a different light and attainting an exceptional result.”

Leia Mais

3, Jan — 2014

Suburbia Underlines Aesthetic Boldness

  • Ubiratan Brasi
  • O Estado de S.Paulo

“Director Luiz Fernando Carvalho is a true sociologist of television drama – after analyzing the caste system during the Empire’s period in The Maias and decoding Ariano Suassuna’s labyrinthine and magical universe in Pedra do Reino, Carvalho revealed the likewise colorful and dark atmosphere of Rio’s North Zone in Suburbia”

Leia Mais

1, Nov — 2012

Suburbia is Poetic and Realistic.

  • Patricia Kogut
  • Segundo Caderno / O Globo

“The series is lyrical, and shares the regard of a photographer/poet. There are no light effects, rather the director’s vision, which sees and offers a color that would escape the mere documentary filmmaker. It holds a plenty of messages for the TV itself ”

Leia Mais

1, Nov — 2012

Series Keeps it Real and Tender while Looking at the Hard Suburban Life

  • Mauricio Stycer
  • UOL

“The result is beautiful and moving. Like other works by Carvalho, however, it demands special attention from viewers who grew used to very plain dialogs and simple close-ups.”

Leia Mais

3, Dec — 2012

Fresh, Natural, No Posing: the World of Suburbia

  • Patricia Kogut
  • Segundo Caderno / O Globo

“Suburbia is not just a good TV show, it also prompts a rather timely discussion about the television itself”

Leia Mais

28, Oct — 2012

Three Suburbs

  • Mauricio Stycer
  • Folha de S.Paulo

“I venture to say that Madureira play a role of equal to higher relevance than that of characters in the show conceived and directed by Luiz Fernando Carvalho and his peculiar keen eye.”

Leia Mais

8, Nov — 2012

Black is beautiful

  • Luiz Carlos Merten
  • O Estado de S.Paulo

“Carvalho’s Suburbia, like Sam Mendes’s, portrays moral violence”

2, Nov — 2012

Review – Suburbia, First Episode

  • Fernanda Furquim
  • Veja

Judging by the first episode, the rest of the mini-series might as well be worth it. Not so much for the story, but for the images and fleeting poetry that the production promises to offer.

Leia Mais

29, Dec — 2012

The Fine Dish Served by TV in 2012

  • Patricia Kogut
  • Segundo Caderno / O Globo

“Another highlight was Suburbia, by Luiz Fernando Carvalho and Paulo Lins. The series’ brought a fresh feel to television, departing (and exposing) from trivial and repetitive models.”

Leia Mais

4, Nov — 2012

“You da killer of yourself”

  • Tatiana Tiburcio
  • Negro Olhar

Suburbia offers a fresh look at many received truths. (…) It has hit the ground running in its first chapter, with a handful of ethnic, social and cultural issues that are relevant for each and every citizen, but especially for the Brazilian black people when it comes to the possibility of changing some confining stereotypes.”

Leia Mais


Principais notícias

15, Oct — 2012

Erika Januza: La Belle du Suburb

  • Bruno Astuto
  • Época

“New endeavor by director Luiz Fernando Carvalho, scout of actresses such as Leticia Sabatella and Bruna Linzmeyer, Erika Januza, Minas Gerais, was selected among 2,000 other candidates”

Leia Mais

10, Nov — 2012

Change the Channel

  • Bruna Bittencourt
  • Vogue

“In the new Globo TV series Suburbia Luiz Fernando Carvalho adds a realistic language to his aesthetic refinement, and plunges into the black Rio with the aid of Paulo Lins and a cast of non-actors.”

2, Dec — 2012

A Mythological Narrative

  • Thaís Britto
  • O Globo / Revista da TV

“The main character of the Brazilian Western feature film, Fabrício Boliveira talks about the transformations of Cleiton, his character in Suburbia, and his work with director Luiz Fernando Carvalho (…) On Luiz Fernando’s set, he says, the mood is out of control. In a good way: ‘It seems to be blowing pixie dust and creating a chaotic atmosphere. You act almost out of exhaustion, and that rules out reason. He resets our reasoning and logic.”

Leia Mais

28, Oct — 2012

Black Gems – Learn the stories behind five new faces that will be seen Luiz Fernando Carvalho’s Suburbia

  • Zean Bravo
  • O Globo / Revista da TV

“This cast will be of great importance and will stand out for its unknown names. What is more, actors are mostly black.”

Leia Mais

9, Nov — 2012

Outskirts As It Is

  • Mauricio Meirelles
  • Época

Suburbia will do something new in the Brazilian TV. The series will have non-actors and unknown actors − mostly black.”

Leia Mais

8, Sep — 2012

Getting Real

  • O Globo / Segundo Caderno

“Inspired by photojournalism, with special reference (and a bow) to portraits made by Walter Firmo, Carvalho takes turns as cameraman”

Leia Mais

22, Dec — 2012

Suburbia In Colors

  • Melina Dalboni
  • O Globo

“Photoshoot with actress Erika Januza, created by director Luiz Fernando Carvalho especially for ELA, celebrates the end of the TV series that showed the aesthetics of the suburbs.”

Leia Mais

3, Nov — 2012

Suburbia: An Interview with Luiz Fernando Carvalho

  • Luiz Zanin
  • O Estado de S.Paulo

“I’ve always felt that, for better or for worse, Conceição was fitting as a metaphor for the Brazilian people at large”

Leia Mais

30, Jul — 2012

Black is Beautiful

  • Sylvia Colombo
  • Folha de S.Paulo

“The overproduction, the millimetric care with the acting and the sophisticated aesthetics leave the scene. A quasi-journalistic language, non-professional actors, and an aforethought search for which is real come into play.”

Leia Mais

7, Aug — 2012


  • Patrícia Kogut
  • O Globo / Segundo Caderno

“Although a newbie, she has plenty of dramatic charms. Without her (Erika Januza), there would be no Suburbia”

31, Oct — 2012

Suburbia, a Sitcom Set on the Outskirts of Rio, is Luiz Fernando Carvalho’s New Production

  • Zero Hora

“The director’s proposal was to offer a naturalistic feeling to the production, bringing the characters as close as possible to the reality of Rio’s poor neighborhoods, without stereotypes”

Leia Mais

3, Dec — 2012

Suburban Poetry

  • Louis Palma
  • Luz e Cena

“The director grounded this new project on the belief in the broad sense of suburb, where people come together to overcome the oblivion from the public safeguard.”

‘Portraying class C is necessary,’ says Paulo Lins

  • Juliana Faddul
  • Isto é

“Twelve years after the release of City of God, the author of the book that inspired the movie says that nothing has changed in the neighborhood and that talking about the favela on TV is quite urgent these days”

‘It’s a Political Statement’

  • Sandra Almada
  • Raça Brasil

“TV Globo’s Suburbia mini-series gets to Brazilian households with an Afro-descendant cast and director Luiz Fernando Carvalho striving to bring a more reliable representation of suburban culture and black cultural initiatives to TV screens”

5, Sep — 2012

Suburbia Collection

  • Museu da Pessoa

This collection compiles accounts from people who worked in the mini-series Suburbia on Globo TV. Here are reports of overcoming and wisdom, stories lived in the slums, the suburbs, the outskirts, people who could make their dreams come true within the universe of music, art, theater and television.

Leia Mais

26, Oct — 2012

Museum of the Person Shows Life Stories of Suburbia’s Actors

  • Globo Cidadania

As part of a major effort with the Museum of the Person, which for 20 years has recorded stories of individuals to turn them into sources of knowledge, the cast shot video testimonials, telling a little of their lives. Ana Pérola, who plays the character Jessica in the series, shot her account there, talking about everyday life as a streetsweeper and the exciting experience of participating in a television series.

Leia Mais

21, Sep — 2012

Mozart, Funk and Roberto Carlos in the Score of New Series of TV Globo

  • O Estado de S.Paulo

“With the music as the main thread, the plot promises a good deal of black music, Brazil funk of the 1990s, Roberto Carlos, samba, jongo and, to top it off, Mozart”

Leia Mais

7, Dec — 2012

Suburbia Becomes Comic Strip

  • Patrícia Kogut
  • O Globo

“TV Success, ‘Suburbia’ will be adapted in a comic book.  It is a special project of the design office Retina 78, by Christiano Menezes and Chico de Assis, who work with Luiz Fernando Carvalho, the program’s director, since ‘A Pedra do Reino.’   They invited Pedro Franz, a graphic artist from Florianópolis, for drawings.”

Leia Mais

6, Dec — 2017

Check Out Pages from Globo TV Series-based Comic Book

  • Érico Assis
  • Ometele

“In the gallery, you can check out some pages from the beautiful comic book, which shows the ‘black cinderella’ Conceição discovering the suburb of Madureira in the early 1990s.”

Leia Mais

30, Nov — 2012

Events Covered Suburbia Series and Co-productions between Brazil and Portugal

  • Globo Universidade

“With the purpose of furthering academic debate on the topics covered in the Suburbia series, Globo Universidade held the “Suburbia Seminar: the individual in the construction of social imagery,” on November 6 and 13, at PUC-Rio (Pontifical Catholic University of Rio de Janeiro) and USP (University of São Paulo), respectively. In addition to Paulo Lins, writer of the series, Suburbia actors and professors from various universities attended the event.

4, Jun — 2013

Globo Universidade releases Section that Addresses Suburbs Identity

  • Globo Universidade

“Suburbia was a landmark on Brazilian TV because, despite addressing suburban everyday themes, it did so in an innovative way. The whole team was really into it, and rejoiced as in a party,’ said Haroldo Costa.”

Leia Mais

16, Oct — 2012

Rio Train is Adorned with Art from Suburbia

  • Vox News

“A SuperVia train was tagged with comic book illustrations from the plot and went into circulation this week, which was graced by the cast of the show at the Central Station in Brazil. In the story, which has the general and division direction of Luiz Fernando Carvalho, the characters live in Madureira and use the train as a means of transportation.”

Leia Mais

4, May — 2013

Interview: Pablo Morais, the International Model Rising in Series Suburbia

  • Márcia Dornelles
  • Mensch

“It was not a challenge, but a really great pleasure.   Carvalho is a genius and generous director. It was a gift for me to debut in this series, especially directed by him.”

Leia Mais

Academic Studies

The Syncretic Strategies of the Suburbia Mini-series Narrative

  • Renato Luiz Pucci Jr. e Gelson Santana
  • Universidade Federal do Paraná
Leia mais

A Suburban Look at Television Visuality: Art Direction and Staging in the Narrative of Mini-Series Suburbia

  • Milena Leite Paiva
  • Universidade Estadual de Campinas
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Suburbia with Erika Januza, Fabricio Boliveira, Debora Fidelix Nascimento, Dona Fininha, Luiz Manoel, Haroldo Costa, Rosa Marya Colin, Dani Ornellas, Cridemar Aquino, Tatiana Tibúrcio, Alice Coelho, Paulo Verlings, Ana Kariny Gurgel, Arthur Bispo, Maria Salvadora, Ana Pérola, Nelly, Flavio Rocha, Pablo Morais, Lecão Magalona, Wallace Rocha, Alex Teix, Guti Fraga, Paulo Thiefenthaler, Bruna Miglioranza, José Lavrador, Dione dos Santos and Hugo Raphael Nascimento Children Gabriel Lima, Enrico Rodrigues, Juliana Louise and Maria Eduarda Soares Created by Luiz Fernando Carvalho Written by Paulo Lins and Luiz Fernando Carvalho Collaboration Carla Madeira Scenography Kaka Monteiro, Isabela Urman and João Irênio Art Production Marco Cortez and Lara Tausz Art Direction Mario Monteiro Costume Luciana Buarque Character Makeup Fabíola Gomez and Barbara Santos Casting Production Nelson Fonseca and Anderson Cassimiro Choreography Fly Dramaturgy Instructor Antonio Karnewale and Inês Peixoto Cameras Leandro Pagliaro and Murilo Azevedo Cinematography Adrian Teijido Edition Marcio Hashimoto Colorist Sergio Pasqualino and Marcello Pereira Music André Mehmari Additional Music Ed Motta General Direction Luiz Fernando Carvalho