And getting older, what's happening is, I play only mothers.

We can bring to characters dark and bright sides that nobody even dreams about.

Ultimately, you just have to do what feels right for the film. It really helps when you have great collaborators like my editor, Eduardo Serrano, who kept telling me various scenes should be longer.

Nobody who comes out of the movie [Aquarius] focuses on those [sexual] scenes, because they are not the heart of the film. They are a consequence of the story, but I don't remember hearing audiences talking about them afterward. They came out discussing themes of resistance, history and memory. They're talking about the beauty of the self and how it can become demolished.

I think the relationship [in Aquarius] with her nephew shows that she's not nostalgic. She just wants to preserve what is important to her - her records, her books, even some furniture. She doesn't want to leave that house because it is her home. That is where her kids were born. After moving so much in my life, I was touched by Clara's need to stay in that apartment. I love her life, and that may be why I connected to her so strongly. We are the most alike when we are fighting for our rights.

You see all these old buildings [in Rio] going down or catching fire overnight, and it is so sad. I am very connected with these buildings because they are our history. It is the only one that we have.

I'm not saying that we need more stories about people of a certain age, we just need more great stories about people.