Everyone knows someone who lost everything in a flood
Em um país onde enchentes apagam histórias de vida com frequência crescente, a Globo prepara uma novela que transforma a tragédia coletiva em narrativa de resistência. 'Quem Ama Cuida', de Walcyr Carrasco, estreia no horário nobre com uma protagonista que não espera ser salva — ela salva. A obra propõe que a ficção televisiva tem uma responsabilidade além do entretenimento: a de afirmar, diante do caos climático e da desigualdade social, que é possível recomeçar.
- Uma enchente catastrófica em São Paulo abre a novela destruindo lares e meios de vida — e a produção não poupou esforços técnicos para que o desastre parecesse real, não encenado.
- Letícia Colin interpreta Adriana, uma fisioterapeuta que perde tudo e se torna provedora da família, rompendo com o arquétipo da heroína romântica passiva que dominou décadas de teledramaturgia brasileira.
- O elenco reúne nomes como Tony Ramos, Antonio Fagundes, Tata Werneck e Isabel Teixeira, cada personagem carregando um fragmento das tensões sociais do Brasil contemporâneo — da obsessão estética à privação emocional.
- A atriz Isabela Garcia sintetizou o peso da história com uma frase simples: 'Todo mundo conhece alguém que perdeu tudo em uma enchente' — lembrando que a ficção aqui é espelho, não escapismo.
- Carrasco encerra com uma declaração que funciona quase como manifesto: a televisão tem a obrigação de mostrar que é possível voltar — e a novela assume esse compromisso como eixo narrativo central.
Walcyr Carrasco recebeu jornalistas numa tarde de quarta-feira para falar sobre sua nova novela das nove, e a conversa gravitou em torno de um elemento que raramente aparece como protagonista na teledramaturgia brasileira: a água que destrói, não a que romantiza.
'Quem Ama Cuida' começa com uma grande enchente em São Paulo que varre a vida dos personagens centrais. A produção exigiu filmagens em água real, dublês e painéis de LED para reconstituir o caos do desastre. Letícia Colin, que vive a protagonista Adriana, descreveu o processo como emocionalmente intenso — e disse que o elenco se uniu através do peso compartilhado das gravações.
Adriana é fisioterapeuta, perde tudo na enchente e passa a sustentar a família sozinha. Colin a descreve como complexa, intensa e movida por um senso de justiça — bem distante da heroína que aguarda o amor para se salvar. Carrasco, por sua vez, construiu o personagem Arthur Brandão, vivido por Antonio Fagundes, a partir de sua própria experiência após uma fratura na perna que o levou a meses de fisioterapia. 'Os personagens se tornam pessoas que conheço', disse o autor. 'É como se me contassem suas histórias.'
O elenco inclui Tony Ramos, Chay Sued, Isabel Teixeira, Tata Werneck e Rainer Cadete, entre outros. Werneck interpreta uma personagem marcada pela obsessão e pela fome afetiva; Cadete vive um dermatologista pressionado pelos padrões de beleza. São camadas que permitem à novela conter múltiplas verdades ao mesmo tempo.
A atriz Isabela Garcia resumiu o que torna a história urgente: 'Todo mundo conhece alguém que perdeu tudo em uma enchente.' A ficção não está distante da realidade — ela a reflete. E Carrasco fechou a coletiva com o que soa como o coração da obra: a televisão também tem a obrigação de mostrar que é possível voltar. Que o cuidado importa. Que, mesmo derrubado pela catástrofe, é possível se levantar.
Walcyr Carrasco sat down with reporters on a Wednesday afternoon to talk about his new prime-time novela, and the conversation kept circling back to water. Not the romantic kind that fills a lover's eyes, but the destructive kind—the kind that sweeps through a city and erases everything a family has built.
"Quem Ama Cuida," which translates roughly to "Those Who Love, Care," opens with a catastrophic flood in São Paulo that upends the lives of its central characters. The production required serious technical muscle: hours of filming in actual water, stunt performers, LED panels rigged to simulate the disaster's scale and chaos. Letícia Colin, who plays the protagonist, described the work as "emotionally intense." The cast, she said, bonded through the ordeal—a kind of shared weight that made the scenes feel less like performance and more like testimony.
The story centers on Adriana, a physiotherapist who loses everything in the flood and becomes her family's sole provider. She is not the traditional novela heroine—no swooning, no waiting to be rescued. Instead, she is a woman rendered invisible by circumstance, fighting to survive, to study, to keep her family afloat. Colin spoke about the character with the precision of someone who had inhabited her: "She's complex, intense, driven by a sense of justice." The novela, she emphasized, rescues themes of solidarity and courage from the wreckage of Brazilian inequality.
Carrasco drew the character partly from his own life. Two years ago, he broke his leg and spent months in physical therapy. Those sessions—the vulnerability, the slow rebuilding of function—seeped into the character of Arthur Brandão, played by Antonio Fagundes. The writer spoke about his creative process with an almost spiritual quality: "The characters become people I know. It's as if they're telling me their story." He wasn't inventing from thin air; he was listening.
The ensemble cast reads like a roster of Brazilian television royalty: Tony Ramos, Chay Sued, Isabel Teixeira, Jesuíta Barbosa, Deborah Evelyn, Agatha Moreira, Tata Werneck, Rainer Cadete. Carrasco called them a "dream cast." Werneck plays a character consumed by obsession and emotional hunger, while Cadete portrays a dermatologist navigating the pressures of beauty standards and cosmetic intervention. These are not peripheral details—they are the texture of the story, the way a novela can hold multiple truths at once.
Isabela Garcia, another cast member, made an observation that cut to the heart of why this story matters now: "Everyone knows someone who lost everything in a flood." The fiction was not distant from reality. It was a mirror held up to the lived experience of thousands of Brazilian families who have watched their homes and livelihoods disappear into rising water.
Carrasco closed the press conference with a statement about television's responsibility. "TV also has an obligation to show that it's possible to come back from this," he said. The novela would contain romance, family conflict, and the hard work of survival—the recurring elements of his storytelling. But underneath it all was something more urgent: the insistence that recovery is possible, that care and solidarity matter, that a person can be knocked down by catastrophe and still rise.
Notable Quotes
The characters become people I know. It's as if they're telling me their story.— Walcyr Carrasco, author
Television also has an obligation to show that it's possible to come back from this.— Walcyr Carrasco
The Hearth Conversation Another angle on the story
Why did Carrasco choose to open with a flood instead of building toward it? Why make that the foundation?
Because it's not a plot device for him—it's the condition. The flood isn't something that happens to the characters; it's what makes them who they are. Everything after is reconstruction, which is the real story.
Letícia Colin called the work "emotionally intense." What does that mean in practical terms on set?
It means you're filming in water for hours, your body is cold, you're thinking about the families this actually happened to. The intensity isn't theatrical—it's the weight of representing something real.
Carrasco drew Arthur Brandão from his own physical therapy. Does that kind of personal experience change how a character lands?
Completely. He wasn't imagining what vulnerability looks like; he'd lived it. That specificity—the small humiliations, the slow progress—that's what makes a character breathe instead of just move.
The cast includes Tata Werneck playing a stalker and Rainer Cadete as a cosmetic surgeon. How do those characters fit into a story about flood and survival?
They're the other side of inequality. While Adriana is fighting to eat, others are obsessing over beauty and possession. The novela isn't just about one tragedy—it's about the fractures in how people live.
Garcia said everyone knows someone who lost everything in a flood. Is that why this story feels urgent now?
Yes. It's not exotic or distant. It's the neighbor, the cousin, the person on the bus. Television can either ignore that or witness it. Carrasco chose to witness.