Bernardo Barreto, LISFF 2026, Best International Feature Screenplay

- Can you please tell us about yourself and your daily life?

I started my career as an actor in Brazil, but the lack of opportunities, combined with an overwhelming need to create, pushed me toward writing and directing. By the time my acting career in Brazil started to flourish, I had already accumulated many projects in development. That naturally led me into producing my own short films and later low-budget independent features.

Today, I live in Los Angeles, and less than a month ago I finally received my Green Card. While acting opportunities continue to develop, I’m focused on moving forward with my personal projects and creating the stories I believe in.

I work a lot, but it never feels exhausting because I genuinely love what I do. Storytelling is not just my profession — it’s part of who I am.

-   When and how did you get into writing/filmmaking?

Writing came into my life because I realized acting alone wasn’t enough for me creatively. I had stories inside me that I needed to tell. Writing became a way of understanding myself and the world around me.

I began my career as an actor in Brazil in 2006 and first gained national recognition as the lead in the iconic teen series Malhação on TV Globo. But while my acting career was growing, I was already developing scripts and creating my own projects behind the scenes.

In 2008, I was selected as one of only ten screenwriters for the prestigious SESC Screenwriting Lab in Brazil, held in partnership with the Sundance Institute, with my feature project Posto 9. The script was later acquired by Zazen Produções, the company founded by acclaimed filmmaker José Padilha (Narcos, Elite Squad). That was a major moment for me because it made me realize my voice as a writer had value.

Since then, I’ve developed original content for television, streaming, and cinema. In 2015, I wrote, directed, and starred in the series Meus Dias de Rock.

My feature directorial debut, O Buscador, was shot in only two days and premiered, winning the Jury Prize for Best Film at the Tallinn Black Nights Film Festival.

More recently, I starred in and co-wrote the U.S./Brazil co-production Invisible Borders, directed by Heitor Dhalia. My performance earned me the Best Actor award at the Garden State Film Festival, and the film screened at festivals including the Santa Barbara International Film Festival, Beverly Hills Film Festival, and Arizona International Film Festival.

For me, writing is deeply personal. Every project carries pieces of my fears, contradictions, dreams, and experiences. Even when the stories are fictional, the emotional truth behind them is always real.

- How often do you write? Do you have a writing routine? And what inspires you to write?

I write all the time, mostly notes on my phone. There is usually one main project I’m focused on, but ideas for other projects are constantly appearing as well.

Once I feel the need for a draft or a rewrite, I can sit down for days completely immersed in the work. My routine changes depending on what I need to accomplish next. My mind is very chaotic, so I tend to be extremely organized with my work: detailed notes, schedules, outlines, reminders.

My inspiration comes from life. Everything I’ve ever written contains part of me. The story itself may not literally be my life, but the emotional need behind it always is.

I think that’s how we truly connect with others. Deep inside, we are all very alike. We all want to be loved… especially artists. Hahaha.

- How does it feel to have your work recognized?

In the beginning, I told myself I didn’t care about recognition. I thought art wasn’t about that. And honestly, it isn’t… but at the same time, it also is.

I think artists probably need recognition more than most people. Our projects are like food for our souls. We invest so much time, energy, vulnerability, and self-questioning into the work that any form of love or connection coming back from the audience feels meaningful.

Awards are amazing, of course, but getting the work produced is the real goal. In the end, storytelling is about sharing something deeply human with others.

- What's the best and most challenging thing about writing a Screenplay?

For me, the hardest part is finding the right structure for the character’s emotional arc. Once I clearly understand the beginning, middle, and end, along with the major turning points for both plot and character, then I know I can finally begin the fun part: writing and rewriting.

That’s when the story really starts breathing.

- How did you develop the idea for your LISP-selected screenplay? Is there a story behind your story? And, how long have you been working on it?

The Bait… I’ve always been fascinated by sharks. I’m not exactly sure why, but  ever since I was a kid, they captured my imagination.

João, the main character, is the son of a friend of my father’s. I had heard about his shark attack growing up, and I always wanted to meet him. By the time we finally met, I was already working as a writer, although he didn’t really know my work yet.

He told me the story of the attack and mentioned he was writing a book that he hoped could eventually become a movie. Years later, in 2019, he sent me a copy of his book, The Bait. I read it in one afternoon. It was fascinating, but definitely not yet a movie because it explored many parallel stories about his family and their relationship with the ocean, while the shark attack itself was only a small chapter.

But João himself was incredibly captivating. I put the book down and immediately started interviewing him. It was during the pandemic, so we both suddenly had time.

The process demanded a lot of resilience from me. Eventually, I realized this wasn’t just a survival story. It was really about understanding why João needed to go through that traumatic experience in order to transform his life.

I first read the book in 2019, and I honestly haven’t stopped working on the project since.

- Can you please give us a few tips about filmmaking/scriptriting/writing?

Put yourself into the situation. In some way, it is always you.

The most interesting thing about any story is what makes it unique, and I believe every person is unique. So don’t be afraid to expose both your light and your shadow.

That honesty is what connects people.

- What's the best thing and the most challenging thing about competitions?

The best part is definitely the people you meet and the feedback you receive. Whether you win or not, competitions can help you understand where you are creatively. Sometimes they show you what still needs work; other times they reassure you that you’re on the right path.

It’s an opportunity to grow.

The most difficult part is that art is deeply subjective, so competition itself can feel strange. The idea of artists competing against each other is always a little uncomfortable to me because creativity isn’t really a sport.

- Lastly, do you recommend the writers/filmmakers submit to LISP/LISFF?

Absolutely.

Unfortunately, I wasn’t able to attend in person this year, but I was there in spirit. I truly admire the people behind these events who dedicate their time and energy to supporting artists and promoting storytelling.

Initiatives like this really matter, especially for independent filmmakers and writers trying to find their voice and connect with the industry.