Woman Clothed in Sun (Uma Mulher Vestida de Sol) In 1994, the telefilm directed by Luiz Fernando Carvalho marked the first appearance of Ariano Suassuna's works on television. Based on the writer's unpublished novel of the same name, the script was the work of Ariano himself, in partnership with the director. Director of photography Dib Lufti, costumes by Luciana Buarque, and art production by Lia Renha. Scenography by the artist Fernando Velloso, from the Grupo Corpo dance group, music by Antônio Madureira, a member of the Armorial Quintet (Quinteto Armorial). With A Woman dressed in Sun (Uma Mulher Vestida de Sol), the director commenced his exploration of the limits of television language, combining elements of the popular theater of the Northeast. Luiz Carlos Vasconcelos's Grupo Piolim participated and the cast included Tereza Seiblitz, Lineu Dias, Sebastião Vasconcelos, Ana Lúcia Torre, Raul Cortez and the then novice actor Floriano Peixoto. According to the researcher of Literature Hélio Guimarães, the work gave rise to an impasse at the TV station: was Luíz Fernando Carvalho too big for the Globo screen? The Farce of Pleasant Idleness (A Farsa da Boa Preguiça) One year after A Woman dressed in Sun (Uma Mulher Vestida de Sol), in 1995, Luiz Fernando Carvalho resumed his connection with the writer Ariano Suassuna, this time transforming the play The Farce of Pleasant Idleness (A Farsa da Boa Preguiça) into a telefilm . The director continued his search for a hybrid language for television, as a way of criticizing the naturalism of the novelas. Art production and costumes by Yurika Yamasaki and the artist Dantas Suassuna, participation of Antonio Nóbrega, Patrícia França, Ary Fontoura and Marieta Severo. According to the critic Rogério Durst, the telefilm was a major feat of TV drama. The King of the Cattle (O Rei do Gado) The King of the Cattle (O Rei do Gado), 1996, the director's next collaboration with the author Benedito Ruy Barbosa, became the novela with the 9th largest audience in Brazilian television history. It was rescreened three times, outrating other productions of the time, and was sold to over 30 countries. It marked the debut of Marcello Antony, Caco Ciocler, Mariana Lima, Emilio Orciollo Netto and Lavínia Vlasak. Other significant aspects of the novela were its social criticism and sensitive approach to the Landless Workers Movement (movimento dos sem-terra). The actors Jackson Antunes and Ana Beatriz Nogueira stand out in