book, the director elected to film without a defined script, based entirely on the actors' improvisations on the theme. This involved intensive coaching of the cast, secluded on a farm for four months. The film's creation and production process was discussed in the book About To the Left of The Father ("Sobre Lavoura Arcaica"), in which the director is interviewed by José Carlos Avellar, Geraldo Sarno, Miguel Pereira, Ivana Bentes, Arnaldo Carrilho and Liliane Heynemann, launched in Portuguese, English and French by the publisher Ateliê Editorial. It was success with the critics and the public, reaching 300 thousand viewers with just two copies, one in Rio de Janeiro and the other in São Paulo. It is considered one of the 100 best Brazilian films of all times, according to the Brazilian Film Critics Association (Abraccine). It had a successful career in a number of national and international festivals, receiving over 50 awards at the Montreal World Film Festival, the Rio Film Festival, the São Paulo International Film Festival, the Grand Prix for Brazilian Film, the Brasília Film Festival, the Havana Film Festival, the Cartagena Film Festival, the Guadalajara International Film Festival, the Buenos Aires International Festival of Independent Cinema, among others. In the opinion of writer and psychoanalyst Renato Tardivo, author of Porvir que vem antes de tudo – literatura e cinema em Lavoura Arcaica, the film is one of the most important works of Brazilian cinema “of all times”. The critic Carlos Alberto de Mattos described it as the first work of art of the Brazilian cinema in the 21st century. The film was acclaimed by the critics of various countries and, according to the French magazine Cahiers du Cinéma, To the Left of the Father is a "barbarous poem verging on hallucination, of extraordinary power". The Maias (Os Maias) A 2001 production, this mini-series based on the homonymous novel by Eça de Queirós and adapted by Maria Adelaide Amaral was another landmark in the director's career. The Maias portrays the decadent Portuguese aristocracy in the second half of the 19th century, through the tragic story of a traditional Lisbon family. Costumes by Beth Filipecki and direction of photography by José Tadeu Ribeiro. In the opinion of writer Luis Fernando Veríssimo, "the extraordinarily mobile camera of Luiz Fernando Carvalho “visited”, more than portrayed, the frivolous Lisbon of the time and all the novel's atmospheres. But beneath it all, there