In A Paixão Segundo G.H., Brazilian director Luiz Fernando Carvalho takes on the monumental task of bringing to the screen the novel of the same name by Clarice Lispector, one of the most unique and extraordinary voices in world literature. Maria Fernanda Cândido plays G.H., the mature, upper-class sculptor who lives in a flat in Rio. After dispensing with the services of her maid in an eloquent and spectacular face-to-face with Samira Nancassa (the maid), G.H. enters the maid's room for the first time (one might say for the first time in her life) and in that austere and simple space a flow of images and thoughts is unleashed, triggered more specifically by the appearance of a cockroach. This insect acts as the forbidden fruit, initiating a new order of things, a new life full of questions and new reflections, an unexpected space of freedom for G.H. This is not the first time that Luiz Fernando Carvalho has tackled the adaptation of an iconic and complex text, as he did in 2001 with his first feature film Lavoura Arcaica (in the Espejos section) and on this occasion, he transfers each of Lispector's words to the screen with his own language and images so physical that they can be touched, smelled and bitten. Maria Fernanda Cândido's face embodies desire, tragedy and lucidity as Maria Falconetti did in La pasión de Juana de Arco and is situated in a committed, exalted and seductive space like the one proposed by Fassbinder in Las amargas lágrimas de Petra von Kant. Carvalho's A Paixão Segundo G.H. is a sensorial and incredibly powerful journey into word and gesture. NURIA CUBAS