This is a film that contrasts two generations. How does your character see the issue of conflict of generations?

I don’t see Irene as nostalgic. If she talks about the past is because the strongest things, the deepest feelings, happened that time. But she doesn’t carry this like a flag. Life goes on, she works with cinema, and is surrounded by people from everywhere. She is not a “grouchy aunt” stuck in the idea that “on her time things were good”. However, it is inevitable to talk about the past, because, at the moment the film takes place, it is present in an unquestionable way: her great friend from youth and fight is dying in a hospital bed. So, everything comes back in a really strong way, and this is what is interesting. Even so, she continues to move on with her life.

Some themes are discussed in the film. Among them, the homosexuality. How does your character deal with the theme?

Irene “accepts” her son Eduardo dating Gabriel, son of her comrade Ricardo, who “pretends” he doesn’t know anything. But does Irene really accept it? She still has a little hope that her son will be interested in a girl, and who knows, give her grandchildren. And Ricardo, does he pretends or he knows?

What is for you the past of the generation 68?

The generation of 68 adopted a politicized position, we know that some more than others, and some many times didn’t even have strong convictions, but would join the comrades. It was a generation that took a stand, fought and suffered the consequences. It is difficult to imagine today something similar in a generation that, by noon, gathers in bars to drink bear. Judging by the laughs and jokes, they seem satisfied with the country the way it is. But it is difficult also to imagine that some admirable personalities of the generation of 68, are today at home or in Ministries “counting the vile metal”. They also seem satisfied with the country the way it is.

It was very good! A reunion with an authorial director, strong and talented. When I read the script I was moved with the possibility of making a character that has my name and at the same time is the director, it is really strong. A connection that comes since "Que bom te ver viva", film we made in the 1980s. A strong character, without vanities, but with a beautiful and tender connection with her friends. I acted with stimulating and generous actors. The photography is beautiful! And Lúcia knows what she wants to tell. I trust her.

This is a film that contrasts two generations. How does your character see the issue of conflict of generations?

I think that the conflict of the generations is something natural that you can’t escape from, as the generations will always see the present moment from different points of view. In Eduardo’s case, I think he also thinks this way. This conflict of the characters of the film is marked by specific factors. The son is going through an age that marked a lot the life of his mother in a completely different time. The world and the country today are more tolerant, democratic and pacific. Not that the social injustices and the “enemies” do not exist. Quite the contrary. But they don’t show their faces. The ways to dominate the mass are others. I think Eduardo sees that. He is not an alienated, like a great part of our generation. However, I think he knows that the way to contribute to this world is different than in former times. And I also think that when his mother doesn’t acknowledge that and demands from him the posture she had in 68, this bothers him. Sounds like injustice.

Some themes are discussed in the film. Among them, the homosexuality. How does your character deal with the theme?

Eduardo is homosexual. He has a steady relationship with Gabriel (played by Patrick Sampaio). But I think that before that he is an artist. What I mean by that is that I don’t see “Duda” raising this flag. I see him loving Gabriel. And, of course, having to deal with the difficulties generated by the prejudice still existing in the current society. However, it is in the domestic conflict that the film deepens: How does Irene deal with this? How does Gabriel’s father pretend to ignore the fact that his son is gay? How does this open-minded people from 68 face this issue in their home? I’m heterosexual and I can say “sympathizer”, if this term still exists, that is, I know lots of people that have this sexual orientation, and this is not an issue for me.

What is for you the past of the generation 68?

It was a defining moment of the history of the country. The moment in which the citizen stopped being speech and became action, what is lacking nowadays. Not the same way, of course, because the injustice has other face. I think the alienation has taken a very dangerous proportion and that examples like 68, observed with care, and, under its circumstances, shall be somehow followed.

How was it for you to make the film?

It was a very important experience. I went through lots of things in this dive. A lot of different emotions. To play this contemporary free artist, without blocks in the social interaction, who aggregates, was the most difficult for me. To get over my blocks. Be open. Be fragile. And within all that dealing with the extreme pressure of this mother on the plot. This was the most difficult side to explore. More than the sexual orientation. I’m not saying this was simple. It wasn’t. But I was lucky to work with a friend - Patrick Sampaio - and of having Rogerio Blat as coach to find this way. It was a wonderful experience to work with this cast, mainly with Irene Ravache. Who, for me, has become a professional and personal reference. I’m grateful to Lucia Murat for giving me this gift of playing Eduardo. Of being her “son” on the plot. Of being able to follow everything so closely. I believe that it was a beautiful work and we will be proud of it on the screens.