‘All Women in the World’: Read the review of the Globoplay series

‘All Women in the World’: Read the review of the Globoplay series

Anticipated by Globoplay, it appears in the midst of pandemic chaos, and the need to disconnect from morbid news.

all women in the world

Maria Alice, Adriana, Elisa, Laura, Martinha, Renata, Pâmela, Gilda, Sara, Natália, Dionara & Pink are all women in this world written in partnership by Janaina Fischer and Jorge Furtado, and shaped by Patricia Pedrosa and her extraordinary look at the sensitivity of postmodern passions.


Based on the homonymous work of Domingos Oliveira, it is a contemporary reinterpretation of the life and work of the filmmaker. The narrative accompanies Paulo (Emilio Dantas) and his passions, in other eyes, the narrative can also accompany Maria Alice, the eternal passion, and her reflexes in the life of the “womanizer” (a term never used in the series), Paulo.

With its own rhythm, the series enchants and sucks us into all the passionate misadventures of the protagonist. We perceive the passage of time through dialogues between the characters and some celebratory parties, which makes the prospect of linearity a charismatic charade for the viewer, making each episode unique to the work’s chronism.

Divided into twelve women, each with its own unique interpretation, we see Paul being transformed. We perceive at the beginning – and sometimes at the end – childish and macho behaviors of the protagonist who, from new love experiences, gradually reconstructs himself; grief is the short time that actresses have on screen in their characters, only Maria Alice (Sophie Charlotte) and Laura (Martha Nowill) have a saga visible within the work.

It is also worth reflecting on the choices of actresses made by Patrícia Pedrosa, who was not concerned with the past fame of the actresses, but with the personalities of each of the women desired for the series.

A big difference with the film is the existence of Cabral (Matheus Nachtergaele), which can be understood as the mature and “old” version of Domingos Oliveira. Cabral is the one who has already experienced most of life’s pleasures, repented, suffered, enjoyed and, now with a little nihilistic eye, tries to advise his companions.

But the work is not only made of good performances, the “pastel” colors that permeate the scenes, the scenarios where each character fits, it is a separate show, with close-up looks to bring an intimate view of loves and feelings.

Adding to the care of the director, the soundtrack is chilling, with Elis, Marisa, Elza, Alcione, Ana, Rita, Bethânia, Nara, Céu, Agnes and a few male vocals, the choice of songs at every moment of Paulo’s relations , as a background created in the songs.

There are no references or references that make the series finale evident, however, a Nietzschean conclusion would be the eternal return and the eminent end merged, adding a subtle Moraesian touch of “eternal while it lasts”, as it was already said in the course of the work, “the love cannot stand ”- it is a leap into the unknown.