Fernando Coimbra returns to Brazil with ‘Carnival is Over’
A homecoming for a celebrated director
Brazilian filmmaker Fernando Coimbra makes a triumphant return to his homeland with the crime drama Carnival is Over (Os enforcados). This marks his third feature film and a significant return to the Toronto International Film Festival (TIFF), where his debut feature, A Wolf at the Door, premiered in 2013.
A new chapter in Coimbra’s career
Carnival is Over debuts its trailer ahead of its world premiere at TIFF on September 6. The film is produced by the renowned Brazilian producer Fabiano Gullane of Gullane Filmes, a company enjoying a stellar year with this gripping drama, the animated feature Noah’s Ark, and the eagerly awaited Netflix series Senna.
After directing episodes of international series like Narcos, Outcast, and Perry Mason, as well as the feature film Sand Castle starring Nicholas Hoult and Henry Cavill, Coimbra felt a strong pull to return to Brazil. “I was dying to work in Brazil again, speaking in my own language about what I know deeply and live every day,” he shared.
A tale of ambition and betrayal
Set against the vibrant backdrop of Rio de Janeiro, Carnival is Over follows Valério (Irandhir Santos) and Regina (Leandra Leal), a couple desperate to escape the dangerous world of their “family business.” One fateful night, driven by his ambitious wife, Valério decides to kill his uncle, the ruthless boss, and sell off the business. However, their plan only entangles them further in the cycle of violence they sought to escape.
Carnival is Over is, at its core, a story about marriage. “The couple makes a pact and sets a life plan that they are incapable of fulfilling, but this plan is based on a crime. One last crime that would lead them towards making their dreams come true. But reality is very different from the dream, and things go wrong,” Coimbra explained.
Inspired by Shakespeare
Coimbra drew inspiration from William Shakespeare’s Macbeth, aiming to tell the story from Lady Macbeth’s perspective. This film also marks his reunion with Leandra Leal, who played Rosa in A Wolf at the Door, a fact-based child abduction drama.
“I knew what [Leal] was capable of and that she would enhance Regina’s layers while Irandhir Santos was an actor I had wanted to work with for a long time,” Coimbra said, adding that they built the characters together.
Complex characters and societal critique
The similarity between Carnival is Over and A Wolf at the Door lies in the ambiguity of their characters. “There’s no good or evil. They themselves are their own worst enemies, crossing a line they shouldn’t and one that will lead them to ruin,” Coimbra observed.
In Carnival is Over, Coimbra wanted to explore the realities of life among Brazil’s economic elite. The idea began to take shape during the filming of A Wolf at the Door, when Coimbra passed by the upper middle-class Rio neighborhood of Barra da Tijuca on his way to the set.
“We have a huge crime rate, absurd income inequality, but cinema tends to look at crime as something at the bottom of the pyramid: the periphery, the suburbs, the slums. And where is the money? A large part of our elite is extremely corrupt. They are those who claim to be good citizens, but actually do a lot of illegal things to get rich.”
A collaborative effort
The film is a co-production of Gullane, Fado Filmes, Globo Filmes, Telecine, and Pavuna Pictures. The 49th Toronto Film Festival runs from September 5-15, promising a showcase of diverse and compelling narratives from around the world.
For those eager to dive deeper into the world of Carnival is Over, you can watch the trailer here.
Personal reflections
As a cinema enthusiast, the return of Fernando Coimbra to Brazilian cinema is a moment of celebration. His ability to weave complex narratives with morally ambiguous characters offers a refreshing take on crime dramas. The anticipation surrounding Carnival is Over is palpable, and it promises to be a thought-provoking addition to his impressive body of work.
For fans of TV series and movies, Coimbra’s journey from directing international hits to returning to his roots is a testament to the universal appeal of storytelling. His work continues to push boundaries, challenging audiences to reflect on the societal issues that often go unnoticed.
In the realm of music, the thematic depth of Carnival is Over could be complemented by a soundtrack that captures the essence of Rio de Janeiro’s vibrant yet tumultuous atmosphere. Imagine a playlist that blends traditional Brazilian rhythms with contemporary sounds, creating an auditory experience that mirrors the film’s narrative complexity.
As we await the film’s premiere, it’s worth reflecting on the power of cinema to shed light on the darker corners of society, prompting us to question and, hopefully, understand the world a little better.