On January 27 of that year, the tragedy of Kiss nightclub will be ten years old. The fire killed 242 people and a decade later still does not have an exact definition with regard to its culprits. The club – or what’s left of it – is still standing, with the “Kiss” logo that became known around the world, dusty with time and affecting everyone who goes through their routines on Rua das Andradas. This was a tragedy of disturbing detail, which claimed young college students with their lives ahead of them, and which will shock us all no matter how much time passes.
Every Day the Same Nightthe book of Daniela Arbex on which the eponymous Netflix miniseries was based, was released in 2018. In it, Daniela separates the chapters recounting the horrors that the families of young people who were killed or injured in the nightclub experienced. Some stories were selected by her and part of these stories even made it into the script for the miniseries of Julia Resende and Carol Minêm. In the pages of Daniela’s work, the language is quite direct, documentary, clearly journalistic; which gives the adaptation a chance to make this narrative more engaging and emotional.
For most people who play the miniseries there will be a lot of curiosity about the fire itself. The book goes through the events inside the club in a timely manner and, for the most part, towards the end of the pages. The miniseries takes a more linear decision and begins with the day of the party that brought the young people together at the nightclub. This is necessary so that, in the following episodes, the audience becomes involved with the families of these young people, since, in fact, Daniela’s book is about them and does not exactly delve into the direct victims.
The production of the miniseries did a painstaking job in reconstructing the events of that night. The interior and exterior of the nightclub look exactly like the originals. However, it is possible to notice how the script and the direction avoided exploring the details of how the nightclub worked, what were its spaces, its exits, what were the bathrooms where most of the deaths took place; in addition to avoiding showing better how the house routine was. All this could have been illustrated with sequences between the characters and would also help to further unmask the whole cycle of negligence that resulted in the tragedy.
It’s as if the miniseries were in a hurry to escape from the club, almost as much as the characters. Once the fire starts, the cameras led by Julia and Carol are guided to portray the darkness and panic as realistically as possible. Testimonials from survivors at that time extended the events in a way that provided a better understanding of what would have happened inside; but management made the decision to be more direct, which is perfectly understandable under the circumstances. However, when we get to the case study of the following episodes, there are some gaps that we fill with our prior knowledge and not exactly with what the miniseries shows.
Every Day the Same Impunity
What can happen to Every Day the Same Night this is what happens when people watch a reenactment of real events in search of details: they lose interest when the direct exploration of the tragedy ends. The fire happens in episode 1, the search for the victims happens in episode 2 and then we enter what should be more important: the struggle of the families to hold the culprits accountable. The miniseries actually delivers the strength of the final episodes to its adult cast. It is the detailing of the pain of these families that interests the plot.
For this, the group of parents formed by Paulo Gorgulho, Bianca Byington, Leonardo Medeiros, Debora Lamm and mainly Thelmo Fernandes, dominates the final stretch with a moving work. It is from there that the directors are able to extract beauty in the midst of a story with so much pain. The sequences are difficult… painful. It’s impossible not to feel a shock when we watch those parents realize that if their children aren’t in the hospital, it’s because they’re among the dead… All this chaos gives way to a series of sad scenes, packed by a very well chosen national soundtrack. , which ends up producing, unintentionally, a collective of tributes.
The text does not always help the commitment of these actors. Daniela’s narrative, in the book, is competent, but not very artistic. The directors are able to solve this impasse visually, mainly in episodes 3, 4 and 5. The text, however, has more instability during all of them. There are very inspired moments (such as Thelmo Fernandes’ powerful final monologue), but a lot of ready-made phrases often distance some dialogue from the necessary naturalness.
Everything in the miniseries is filled with emotion and it is difficult to pass an analysis through this filter so full of extreme human feelings. One of these not-so-well-crafted dialogues is often accompanied by a sequence in which parents face the pain of a loss; and it is impossible not to leave aside any preciousness about it. The horror and pain of those parents is out of proportion to any supposed understanding we have without living it. Every Day Same Night it is a production that does not “defend” itself with that, but which, inevitably, empties the obligation to judge it as a work of art.
The trial of those accused of the fire (who erred by negligence) has already taken place and they have been convicted. Before the beginning of 2023 their sentences were overturned. The Kiss nightclub tragedy will be 10 years under this reality. Those involved are free, awaiting a new trial, in the midst of this latency of guilt and indignation that surrounds the case. None of them wanted to kill anyone, but they did. Perhaps the existence of this miniseries once again highlights the open wound of a community marked forever. No one wanted to kill, but he did. There are 242 families that are still stained with soot. There are 242 evidences of this buried in Santa Maria.
Every Day Same Night
Every Day Same Night