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Revision | Liniker Makes Dramatic Actress Debut in Powerful Drama “September Mornings”



Liniker is one of the main names in contemporary Brazilian music and carries an essential representation on the mainstream scene, especially in opening doors to the trans community. Owner of spectacular music, the artist took part in the acclaimed documentary “Bixa Travesty” in 2018, but it was not until this year that she made her debut as an actress in the Amazon drama Prime Video. “Manhãs de Setembro”.

In an interview with CinePOP, Liniker commented that he started his career in theater, migrating to music and finding such a platform as a way to bring empowering messages to LGBTQIA +, as is the cases of “Boca”, “Goela” and the recent “Baby 95”, easily one of the best songs of 2021. Demonstrating his versatility, the singer-songwriter was hired to star in the aforementioned series and, as expected, made a brilliant debut in a production that has the face of Brazil, immersed in subjects of dire need for discussion today. Here, she brings Cassandra to life, a music-loving trans woman who occasionally performs at a São Paulo club and struggles to live one day at a time – until a past relationship threatens to destroy. all that she conquered.

At first, “September Mornings” seems to follow in the footsteps of any Hollywood construct we can think of: Cassandra faces the return of an ex-girlfriend named Leide (played by the astonishing Karine Teles), who appears on her doorstep. with a young boy who claims to be her son. The striking presence of the two characters in the daily life of the protagonist is what shakes the world that took decades to conquer, especially since she was abandoned by her mother and had to fend for herself, finding in Vanusa a model of a woman that she would have liked to follow. Of course, given Cassandra’s deep personality, the quest for independence is marked by both subtleties and obviousness (which don’t tarnish the solid structure crafted by director Luis Pinheiro and his capable creative team, but provide an explanation of what pure truth is).

In five brief episodes, Teles manages to show a very clear vision of what he wants. On the one hand, we have the fight of an anti-heroine as dense as any of us, refusing to accept that external events dictate to her what she can and cannot do; on the other hand, Leide finds herself in a bind that leads her to contact Cassandra in times of desperation as she is unemployed and is forced to live in a car with her son, emerging in various jobs to stay alive. At the top of an unbalanced house of cards, there is the poignant setting of the stone jungle of São Paulo, in which the continuous explosiveness rises in a process of expressive oppression that touches the deictic.

In a way, the dramatic load centers on the troubled dynamic between two different women who unite for a time already forgotten, but who have managed to clear a path that would cross in the distant future; and while it is redundant to speak of the applauding rendition of Teles, Liniker steals the show in an enviable surrender that kicks off a new facet of his career: Cassandra unites minorities in a tour de force that oscillates from systematic independence internal conflict; being a black, poor and trans woman, she found her place among close friends – like the gay couple formed by Paulo Miklos and Gero Camilo – and became an immeasurable force in the midst of so much adversity. It is for this reason that the conquest of a kitchenette or the possibility of singing in a club is a reason for joy and that things follow a course of “realistic optimism”.

Nothing is thrown in profusely. Pinheiro invests in a process of deconstructing the city itself, the active organism of which bombards every individual who appears on the scene. In other words, as the director performs a movement of expansion and contraction, presenting opposite moments (like the cozy and “paradisiac” interior of Cassandra’s apartment and the place where it occurs, for example, in contrast with the urban degradation of the streets that crosses every day), it transforms the atmosphere into a brutal artistic translation of the glamor of poverty made by the media themselves, which transforms people into a situation of social abandonment and lack from perspectives to intrigues of overtaking. It’s these reviews that increase the production density exponentially and bond with anyone who wants to watch the episodes.

‘Manhãs de Setembro’ turns out to be one of the best and most essential series of the year. Delightfully guided by the moving interpretation and engaging chemistry of Liniker and Karine Teles, the work is an anthropological and poetic analysis of the lives of so many Cassandras and Leides who roam the streets of Brazil and deserve their stories to be told.

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