Branded Content

I believe branded content should go beyond campaigns, creating stories that connect deeply with people and live meaningfully in culture. For me, a brand’s message only works when the story itself comes first.

Meeting Murilo

At La Casa de la Madre, I created Meeting Murilo, a 3-minute short documentary that became the main film of a Mother’s Day campaign for Huggies, giving a blind mother the chance to “see” her unborn son through a 3D-printed ultrasound. I conceived the idea, transformed it into a script, and led its development into a film and campaign. Beyond capturing reality, I applied one of my signature techniques: extracting poetry from the character’s universe and scripting passages in their own voice. In this case, I used synesthetic phrases that allowed the audience to feel Tatiana’s world through heightened senses, compensating for the absence of sight.

The campaign also included three additional short films, which I directed, portraying the stories of other women and their unique experiences of motherhood.

The release quickly went viral, featured on CBS, CNN, People, Time, and countless outlets worldwide. Awards followed, along with partnerships, imitators, and even full-on copies — including a scene replicated in a Netflix series. To this day, the film continues to resurface online, touching new audiences as if it were brand-new.

For me, Meeting Murilo remains proof that when a brand invests in authentic storytelling, a single short documentary can spark a global cultural moment.

Reencounter

I created the script of this 15-minute short film for LATAM Airlines during the Rio 2016 Olympic Games, marking the company’s transformation from TAM to LATAM. Conceived as cinema rather than advertising, it tells the story of Pedro, who reunites with his grandparents and discovers that his grandfather was once a great rowing athlete.

The film premiered in theaters and was selected for the LA Shorts International Film Festival in Hollywood — one of the world’s leading short film festivals, accredited by the Academy and BAFTA. It went on to win Gold at the Ciclope Festival and other international awards, becoming a pioneering case of branded content that crossed into the realm of the seventh art.

The Future of Being

“Society is a fabric in mutation. Some ideas are a malignant cancer that only the power of collective imagination can heal.”

“The truth is that I, the future, do not exist. When I arrive, I am no longer. The present is all there is. Eternity shelters itself in the instant.”

I was invited by Orbita as one of the artists to create The Future of Being, an immersive exhibition by Daiichi Sankyo presented in front of the Museum of Tomorrow in Rio de Janeiro. Alongside other creators, I helped shape the integrated storytelling of the exhibition, writing the script and co-developing the narrative that connected the three domes into a single, cohesive artistic journey.

The central dome featured a daring four-minute piece voiced in the first person by “the future” itself — blending oncology, genomics, prevention, and ancestral wisdom with reflections on time, mortality, and presence. It placed the audience at the center of the narrative, turning complex themes into a sensorial, emotional, and philosophical experience.

The exhibition went viral on social media and was widely covered by Brazil’s leading TV networks and newspapers. As an artistic collaboration, it broke new ground by showing how a pharmaceutical brand could embrace profound, challenging content and transform it into a public work of art.

Powered by Respect

Globo TV approached my production company, La Casa de la Madre, to craft a cinematic story around an ambitious innovation: a helmet that enables an F1 car to be controlled by thought. I led the storytelling by connecting this breakthrough to the life of Rodrigo Mendes, a racing enthusiast who developed tetraplegia after an accident and went on to found the Instituto Rodrigo Mendes, dedicated to inclusion through education.

The film gave a human dimension to Globo’s campaign, Movido a Respeito (Powered by Respect), which resonated widely online and across mainstream media. It went on to win multiple awards, including a Silver Lion for Innovation at Cannes Lions. It made history as the first Latin American campaign to win the Grand Clio Entertainment Award in the Social Good category.

This was the result of a collective effort between engineers, producers, and Rodrigo’s own team — but for me, it was a milestone that showed how storytelling can bridge technology, social impact, and emotion on a global stage.

On the Rock Route

Sky's agency, Ampfy, invited my production company, La Casa de la Madre, to bring the storytelling of 'On the Rock Route' (Na Rota do Rock) to life. This cinematic road-movie series followed four independent musicians traveling in a motorhome from São Paulo to Rio de Janeiro for the Rock in Rio festival.

The six-episode series blended documentary moments with scripted situations — a technique I've often explored in my work — generating authentic, emotional reactions from the artists. With a 16 mm aesthetic and natural light, it combined nostalgia and realism, transforming a brand campaign into a genuine music and storytelling journey.

While the Traffic Lights are Still Red

I wrote the script for this Itaú bank documentary, which tells a hero’s journey through the life of a street musician. From the sidewalks to the Rock in Rio stage, it became an intimate portrait where he speaks of dreams and faith.

For this project, I applied one of my signature techniques: extracting the truth of the character, interpreting it in poetic words, and crafting a text for him to deliver as his own. The result is a film of aesthetic beauty and emotional depth — a branded story rooted in authenticity.

Life's Good Lab

In 2010, I helped conceive LG Labs, a digital platform and creative laboratory launched by LG for all of Latin America. For its time, the project was revolutionary: it invited audiences to co-create with the brand. It gave us the freedom to experiment with aesthetics and narrative formats that were rarely seen in branded content.

For me, it became a true playground — a chance to explore imaginative stories, such as hot-air balloons rescuing trees, chimpanzees making video calls, or living sculptures of bees interacting with cellphones. It was also a period of pure joy, working side by side with my dearest creative partner, José Rezek. More than just a campaign, LG Labs was my first big laboratory, the starting point for a more mature journey into the world of branded content.

Janio  Nodanio

The concept and character creation came from Havas, who invited my production company to craft the storytelling for a three-film campaign. This first film introduced Janio Nodanio, a character defined by his insatiable hunger, eating everything in sight.

As the screenwriter, I drew inspiration from Argentine cinema, which I greatly admire, to shape some of the key scenes. The campaign launched Danone’s yogurt line, which has remained a sales success for over a decade. Beyond the films, the character also lived on social media, with his own profile that interacted playfully with users.

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