The actor from Pernambuco, Allan Souza Lima , is emerging as one of the most versatile and promising names in Brazilian audiovisual. Star of the hit series “Cangaço Novo”, on Prime Video , Allan stands out not only on television, but also in cinema, theater and behind the scenes as a producer and screenwriter. Son of a generation influenced by Chico Science, he reinforces his artistic trajectory with awards, authorial projects such as “Sertão Íntimo” and new challenges that include a feature film in production in Maranhão.
Since childhood, you had the chance to spend time with Chico Science, an iconic figure who helped shape the cultural scene in Pernambuco. How did this experience influence the artist you are today and the way you approach your roles?
I believe my first contact with Chico was when I was about seven or eight years old. That was even before Nação Zumbi was formed. I was fascinated by the alfaias and the maracatu — so much so that I soon wanted to study drums. I started very early and, from then on, I focused my efforts on a musical career. Later on, I ended up moving into acting, but music has always occupied a central place in my life, in all aspects. In the process of creating a character, for example, the first thing I do is find out what his song is. And I start listening to it repeatedly, from the beginning to the end of the work, always the same track. As a director, I also start from this principle: I look for the rhythm, the instrumental, the sonic essence of what is being told — be it a play, a film, any project. Music is my starting point. When I develop a soundtrack, as I did recently for my documentary, I already know clearly what I want. I have a very musical ear, and this, in fact, is the result of that first contact with music, way back then, through Chico.
You move fluidly between theater, cinema and television, accumulating experience and awards in different artistic languages. How do you balance these multiple passions and what does each of them awaken in you as an artist?
I have always been involved in the artistic market, although it has been a long time since I have worked in theater. Right now, I am evaluating the possibility of returning. I am negotiating with two actors to revive a play I directed before the pandemic. At the time, we had obtained a call for proposals to perform a tour, but when the pandemic arrived, the project was canceled. Now, I am trying to make this revival possible — a production I wrote, directed by me at that time. I believe there are many ways to act. Ultimately, art serves precisely this purpose: to externalize our pain. Each artistic language expresses something different. As an actor, I can say that I “purge” my repressed emotions through characters. Directing, on the other hand, offers me creative freedom, the possibility of believing that I can create whatever I want, in this magical universe that feeds my imagination. Photography, on the other hand, connects me with silence. There is something about it that leads me to a state of serenity, of peace.
In “Cangaço Novo”, a series that has won over audiences in 49 countries, you delve into a story deeply connected to your northeastern roots. What was the biggest challenge — and also the greatest gift — of starring in such a powerful work for Brazilian audiovisual media?
The biggest challenge, in fact, was this: it was my first major leading role in my career. And it wasn’t just about starring in a series — something that we only realized later how big and powerful it would be — but about giving life to a character full of pain and silence. A deep, dense character that demanded great intensity from me. The biggest challenge, perhaps, was precisely understanding this silence, this internal combustion that defined the character. Doing “Cangaço Novo” was a gift. Without a doubt, this work put me on another level in the market. It was an opportunity that cultivated and revealed the true power that, until then, I believed I had as an actor. I am deeply grateful for that.
Your personal photography project, “Sertão Íntimo”, reflects a new and delicate facet of your perspective. How has photography interacted with your career as an actor and director, and what led you to explore this new artistic language?
Photography is a relatively new field for me — although I have been taking pictures for many years, I had never taken it professionally. At a certain point, I decided to really invest: I bought a camera and began to study in depth what photography could offer me. Professionally, it all started with the portraits I took during the filming of “Cangaço Novo”. It was there that my photographic eye became more consciously consolidated. And, without a doubt, photography began to represent a kind of artistic complement for me. I believe that being an artist is exactly that: exploring your various facets. Of course, this requires real dedication to each new aspect, to each creative “arm” that you develop along the way, whether as an actor, director or photographer. I see great importance in continuous study. To develop a project with depth, it takes time, maturity, and a genuine search for meaning. That was exactly what happened with my last work in photography. When I decided to take it professionally, I began a study process that lasted two years, until I came up with the project “Sertão Íntimo”, which marks this new phase.
In “Aquarius”, you starred alongside the legendary Sônia Braga and shone in Cannes. What did you learn most from this international experience and how has it impacted your career since then?
“Aquarius” was, without a doubt, my first major feature film — perhaps the first or second of my career, but certainly the most remarkable at the beginning. We were there around 2015, and the film ended up having a historic impact, especially because we were selected for the Cannes Film Festival. At that time, there was still a huge gap between Brazilian cinema and the major international festivals — something very different from the current scenario. Being selected by Cannes was almost unthinkable. I remember having to pay for my ticket in installments over months to be able to be there, because I knew it was a unique opportunity. It was an immense experience. But, more than that, it was a shock in perspective. As great as the achievement may seem, we are part of something much larger.
In addition to acting, you also direct and write scripts, as you do at Ikebana Filmes. What is it like for you to be behind the camera and what inspires you to tell stories from this perspective as a director and producer?
I’ve been missing directing for some time now—a desire that has only grown stronger over the years. I recently received news that will take me back behind the camera, in a project that is very meaningful to me. I can’t reveal the details yet, but it’s something that motivates me. In addition, I recently finished finishing a documentary, which has already entered the festival circuit. What inspires me to produce and direct began to take hold about ten years ago, when I opened a production company with my partner. The initial idea was simple: not to depend on the market. From then on, I began to understand that I could tell stories my way. Without interference, with creative freedom, true to what I believe as an artist. Stories that are born from what I have to offer the world, both as a human being and as a creator.
Playing Jesus in “The Passion of the Christ in New Jerusalem” is, without a doubt, one of the most challenging and symbolic roles for any actor. What was it like to play this character in the world’s biggest open-air show, and how did this experience change you as a person and an artist?
The Passion of the Christ was extremely symbolic for me. In general, the characters that have marked my career have always carried a certain density, a depth that demands more than technique; it also demands dedication. And playing Jesus Christ, in particular, moved me. Before making an impact on me as an artist, this role resonated with me as a human being. Last year, I experienced a true spiritual reunion. For a long time, I believed in a God like Spinoza — a diffuse, impersonal, almost philosophical divinity. But I realized that there was a void in this belief. Through this experience with “The Passion of the Christ,” I reconnected with the spiritual dimension of existence, with something more intimate and devotional. Today, I can say that I am becoming devoted to Our Lady of Guadalupe — and this closeness is a direct result of that encounter, that intense experience in “The Passion of the Christ,” in New Jerusalem.
You gained international recognition with “Cangaço Novo”, competed for important awards and continue to build a solid and inspiring career. What do you hope to achieve in the coming years — whether in Brazil or abroad — and what dreams still motivate you to continue telling stories?
I think a lot about this, about the path I want to take from now on, about how I would like to tell my story from now on. I recently had my first encounter with Mexico, and since then I have felt a desire to continue walking there. While many dream of the United States, of a career in Los Angeles, for me it is different. I am very guided by intuition. When people ask me about this, this is the only answer I can give with certainty. I remember that one day I simply woke up and said to myself: I am going to Mexico. I have a deep admiration for Latin cinema. I believe it is a culture of immense richness, which deserves to be looked at with more attention, more affection. The market there is incredibly powerful. Here in Brazil, when we talk about Latin cinema, we usually think of Argentina, which, in fact, has great films and directors. But for me, Mexico is a focal point. I want to get closer and closer to this universe, and not only as an actor, but also as a director.
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