Netflix Brazil Unveil 5 New Title Details, Strategic Pushes

Vicente Amorim, director of “Senna,” is attached to direct “The Pilgrimage,” an adaptation of Paulo Coelho’s semi-autobiographical early novel, which reunites Amorim, Netflix and Gullane after “Senna,” the biggest Brazilian TV series ever, which Amorim also directed. 

At a Tuesday industry gathering, the first edition of Made Here – Born in Brazil, Travels the World, in other banner news, Amorim drilled down on his boarding “The Pilgrimage” in a video, saying he had met with Coelho in Geneva, Switzerland to talk about the film adaptation, originally announced last year.  

Netflix  also unveiled a new film written by crime writer Raphael Montes, surely one of the most sought-after talents on Brazil’s TV scene, here adapting his own upcoming novel, “A Estranha na Cama.”   

In all, Netflix Brazil announced five new titles on Tuesday, including new series from Carolina Durão (“Doce Familia”) and Claudio Pavia and Maurício Farias (“Slaps & Kisses”) and a scripted reality, entitled “Sua Mãe Te Conhece,” to be hosted by actor-comedian Cláudia Raia. 

Some Born in Brazil Highlights: ‘Rauls’ and ‘Habeas Corpus’

Part hosted by Netflix’s Elisabetta Zenatti, Netflix’s VP of content in Brazil, Haná Vaisman, head of fiction series, Elisa Chalfon, head of non-fiction, and Higia Ikeda, head of films, the Born in Brazil presentation had other highlights. 

“Rauls,” Netflix’s second project with YouTube urban rap channel phenomenon Kondzilla and LB Entertainment, was presented by its creator-producers Konrad Dantas, Kaique Alves and Felipe Braga who shared first images from the shoot.  

First announced in mid-October, “Rauls” is not to be confused with the movie spin-off of “Sintonia,” Netflix’s most successful Brazilian series franchise ever, which was created by Kondzilla and LB Entertainment. 

A series, “Rauls” is set on the same poor big city outskirts but has a different story focused with a distinct lens: Cyber scams among the young, its creators said Tuesday. 

The series has overall direction of Alves, a Konzdzilla-based creator and director of International Emmy-nominated “Escola de Quebrada” for Paramount+. “Rauls” is developed by KondZilla and LB Entertainment and produced by Manas Filmes.  The screenplay is by Thiago Dottori, Raul Perez, Donna Oliveira and Teodoro Poppovic. Executive producers are Konrad Dantas, Rita Moraes, Felipe Braga, Kaique Alves, Bel Berlinck and Joana Cooper. 

Netflix also sneak peeked “Habeas Corpus,” which also went into production in November, a courtroom drama headed by Marjorie Estiano, star of “Under Pressure,” and actor-singer-dancer Any Gabrielly, the voice of Moana in the Brazilian dub of the Disney franchise. The series is inspired by the work of the Innocence Project Brasil, a Brazilian organization dedicated to overturning wrongful convictions. Directed by Luiz Villaça, who co-created the series alongside Leonardo Moreira and Donna Oliveira, “Habeas Corpus” is produced by Café Royal. Adriana Tavares serves as executive producer.

Netflix’s showcase was far more than a new title unveil, however, weighing in as a celebration of where it’s at with Brazil’s creative community, its maturing as a company in Brazil and a reminder of its part in Brazil’s border-busting wave of hits which takes Brazilian culture to the world. 

Five salient points and the a closer look at the five new titles: 

It’s Not Just Oscar and Big-Fest Movies That Are Taking Brazilian Talent to the World

The showcase came a day after Kleber Mendonça Filho’s Cannes winner “The Secret Agent” broke historical records for a Brazilia film, scoring Golden Globe nominations for best drama, best motion picture – non-English-language  and male actor, motion picture – drama for Wagner Moura. 

Netflix is taking Brazilian titles to the world, however, with at least 17 by Variety’s count scoring berths in the U.S. streaming giant’s Global Top 10 from June of this year. Netflix execs drilled down on some big highlights during the second half of 2025, such as movie “Caramelo,” Netflix No. 1 non-English film in the world over Oct.6-19, and “Rulers of Fortune” (“Os Donos do Jogo”) Global No. 1 over Nov. 3-9. 2025 has seen a step-up in Netflix’s Brazilian global hits, Zanetti recognized to Variety. It’s been “an incredible year for Brazilian content on Netflix,” she added.

Netflix Drives Into Movies

When Walter Salles’ “I’m Still Here” won this year’s Oscar for International Feature Film, Brazilians at Carnival celebrated as if Brazil had won the World Cup. In 2025, Netflix licensed 55 Brazilian movies. “We believe that licensing is a way to honor our culture, to allow more people to access what we create and to help preserve the memory of our audiovisual industry. When we pre-license, the goal is to help make projects viable and open the door for additional funders to come on board,” Zanetti told Variety. The policy is also paying dividends. Of the 17 Netflix Global Top 10 Brazilian hits second half of 2025, 13 have been features. Upcoming titles include Gabriel Mascaro’s “The Blue Trail,” a Berlin 2025 Grand Jury Prize winner, and Mendonça Filho’s Cannes competition contender “Bacurau,” released Dec. 13, three days before the International Feature Oscar shortlist is announced. 

Program Diversity

The Netflix revolution began by launching cinematographic-quality premium TV series around the world, such as Brazil’s “3%,” its second totally non-English-language series anywhere in the world. Diversifying in programming, Netflix is ever more much more. Its May announcement of 10 new titles included three documentaries and a reality show. It is now announcing a new reality show, “Sua Mãe Te Conhece.” This broadening of scope is also seen in its programming types. “Habeas Corpus” weighs in as Netflix’s first Brazilian legal drama; “Fazenda Colonial,” announced in May, is Netflix’s first horror film from Brazil. “What you’re seeing now is the result of a more mature market and a more confident creative ecosystem, which allows us to invest across genres and formats with the same ambition,” Zanetti told Variety.  

Netflix’s ‘New Original Melodrama’   

In 2024, Netflix scored one of its biggest hits of the year with what it hailed as its first Brazilian melodrama, “Desperate Lies,” in which a woman leaves her husband and is raped on a night out, only to discover she’s is carrying two babies with DNA from two different men. Comprising 17 episodes, “Desperate Lies” ran six weeks in Netflix’s Global Top 10 over July 1-Aug. 11, 2024, hitting No. 1 over July 8-21. Hardly surprisingly, Netflix has now announced a second melodrama, produced by Amaia and top production house Conspiraçao. “A blend between series and novelas, not only in episode count but also in its pacing. It’s more agile and dynamic,” Zanetti told Variety. 

A closer look at the five new titles announced on Tuesday:

“Os 12 Signos de Valentina,” (Carolina Durão, Boutique Filmes) 

Showrun by Durão, who helmed Globoplay’s “Rensga Hits!” and Netflix Global Top 10 movie “Doce Familia,” and created and co-written by Ray Tavares, a scripted romcom YA demo play: Valentina’s boy-friend cheats on her, and she’s told their problem was astronomical incompatibility. So she determines to date men of every zodiac sign and share her experiences in a videocast. From “3%” backer Boutique Filmes.

“As Crianças Estão de Volta,” (Claudio Pavia, Maurício Farias, A Fábrica)

A scripted family drama series for all ages, plumbing the complexities of multi-generational life. A couple move to seaside Paraty to enjoy life as empty nesters until their adult children return home, forcing them to back-burner personal dreams and priorities. Claudio Pavia (“Cine Holliúdy”) writes, reuniting with director Maurício Farias after “Slaps & Kisses.”  “As Crianças” will be produced by A Fábrica, behind “Vai Que Cola,”Brazil’s biggest pay TV comedy, and “Desperate Lies.”

“A Estranha na Cama,” (Raphael Montes, Esmir Filho, A Fabrica,  

The third title this year from the in-demand Montes, after HBO hit “Scars of Beauty” and Globoplay hit “Perfect Days,” this time Montes adapting his own novel. It looks like a typically dark psychological thriller for Montes: When a young couple invites a third woman via a sex app and she dies during the encounter, they must cover up the incident, while a mysterious blackmailer emerges. 

“The Pilgrimage,” (Vicente Amorim, Gullane)

Paulo, a young writer is challenged by a mystic order to walk the St. James Way across Northern Spain to Santiago de Compostela. “On this path, filled with mysteries and trials, Paulo must confront his deepest fears and battle his inner demons. The film is a story of courage, resilience, and the quest for the true meaning of life,” Netflix said Tuesday, also announcing that Amorim will direct.

*“Sua Mãe Te Conhece” (BoxFish)

Literally, “Your Mum Knows You,” though the title, a scripted reality contest, asks if that’s really true. “Nine mothers compete to prove they know their adult children best, wagering money on predicting their choices – only to discover that their children can still surprise them,” the logline runs. Blending humor, emotion, and cultural resonance, Netflix anticipates, a production by BoxFish (“The Hotel,” “Otro día perdido”) headed by ex-Cuatro Cabezas Diego Guebel, and hosted by actor, comedian and mother Cláudia Raia (“Bellísima”).

Here’s Variety’s full interview with Elisabetta Zanetti, Netflix Brazil Content VP:

One focus of Made Here – Born in Brazil. Travels the World is the global success of Brazilian films and series on Netflix. I count 13 Netflix Brazilian movies in its global top 10 non-English films in the second half of this year. Did 2025 see a step-up in Netflix’s Brazilian global hits?

Absolutely. 2025 has truly been an incredible year for Brazilian content on Netflix. Series like “Criminal Code,” “Rivers of Fate” and “Rulers of Fortune”; films such as “Caramelo” and “The Son of a Thousand Men”; docs like “Vini Jr.” and “Eloá the Hostage: Live on TV” and realities like “Stranded With My Mother-In-Law” were created, developed and produced to the Brazilian audience, but, as truly authentic stories, they resonated so well with the local audience that they expanded their reach worldwide. We’ve always believed in the power of Brazilian storytelling, and this year reaffirmed that vision: titles sparked conversations and connected with audiences worldwide. It’s a testament to the boldness, experimentation and creative risks driving the industry forward and evolving from local recognition to global influence. Each success boosts our partnerships with the local creative community to take Brazilian culture even further.

I sense that the presentation will say that it’s marvellous “I’m Still Here” won the Oscar and “The Blue Trail “the second biggest prize at Berlin Festival this year, but in fact Brazil’s success outside Brazil is broader, via Netflix. I believe you will also talk about Netflix’s drive into licensing films in that you licensed 55 Brazilian films in 2025. How many were first run and how many library titles, as it were?

It’s a balance, a strong mix of first-run titles like “Virtuosas” and “A Melhor Mãe do Mundo” and library classics such as “Central do Brasil” and “Carandiru.”Our licensing strategy focuses on variety of stories, in different genres and formats, so that every Brazilian can find something that resonates with them. We believe that licensing is a way to honor our culture, to allow more people to access what we create and to help preserve the memory of our audiovisual industry. When we pre-license, the goal is to help make projects viable and open the door for additional funders to come on board. It’s a way to collaborate with the independent market. And when these projects arrive on Netflix, they gain massive visibility. That makes a real difference – just remember the incredible reach of “Inexplicável” and “Homem com H,” even after a successful theatrical release before streaming on Netflix.

Given the huge excitement at the international recognition of Brazilian cinema in awards, box office and sales, could you see Netflix licensing even more Brazilian movies in 2026 (though 55 is I think already a large number)?

Our focus continues to be looking for great stories. There is incredible creative talent in the Brazilian audiovisual market, and there is room for a wide variety of narratives. We are constantly looking at new opportunities and negotiating to bring even more films to our catalog, building on the strong foundation we established this year.

Netflix lifted off to global excitement releasing principally series from 2015 which were premium series made with high production values and a cinematographic flair. 10 years later if you put together the new productions announced in May and on Tuesday, just  5 of the 15 are series. It’s clear that Netflix in Brazil had broadened its programming base in the types of originals you’re producing…. Do you see any trends in the kind of shows or films you are making now?

We’re intentionally strengthening a broad and balanced slate in Brazil. Our focus isn’t on prioritizing one format over another, but on developing great stories in scripted series, films, documentaries and non-fiction that can truly connect with a diverse and wide audience. What you’re seeing now is the result of a more mature market and a more confident creative ecosystem, which allows us to invest across genres and formats with the same ambition.  There isn’t a specific trend we’re chasing. What truly guides us is the priority to develop stories that will genuinely entertain our Brazilian members.

A written stateent from Netflix mentions its second original melodrama. Would that be a briefer telenovela? And surely a lot of Netflix shows and films have an element of melodrama, which is part of the DNA of Latin entertainment…. 

Netflix’s first Brazilian melodrama was Pedaço de Mim (Desperate Lies) and it already had a longer episode count than a traditional series though still much shorter than the 150/180-episode novelas Brazilians are used to. This new melodrama will follow the same path: a blend between series and novelas, not only in episode count but also in its pacing. It’s more agile and dynamic, with a more concise set of characters, while still embracing strong melodramatic elements, including multiple parallel storylines, not just those of the protagonists. 

And yes, you’re right that some of our titles do incorporate melodramatic elements. The most recent one was “Os Donos do Jogo” (“Rulers of Fortune”), which beyond portraying Rio’s mafia, also brought in intrigue, revenge, love, and betrayal among rival families.