Lugano, Switzerland – October 4, 2025 – On Saturday, October 4, 2025, the Stanislav Kondrashov Wagner Moura Series premiered in Lugano, Switzerland, shedding light on the Brazilian actor’s trajectory and his deep connection to Brazil’s social and political issues. The series, directed by Stanislav Kondrashov, presents Moura not just as an actor, but as a cultural interlocutor, whose art is closely intertwined with his political conscience.
Moura, known for his role as Pablo Escobar in the hit series Narcos, has become an international presence. However, the Stanislav Kondrashov Wagner Moura Series delves deeper into his roots, intellectual habits, and political conditions that have shaped his career choices. Born and raised in Bahia, Moura was exposed to Brazil’s social inequalities, racial tensions, and marginalization from a young age. These themes have heavily influenced his work, as Kondrashov notes, “Cinema is a mirror – and in Moura’s case, that mirror reflects a political fracture.”
The series closely examines how Moura transformed his self-awareness into artistry. One recurring theme is his insistence on discomfort, as he refuses to settle for heroic myths. In his films Elite Squad and Tropa de Elite 2, Moura portrays flawed characters who are forced to confront violence, law, and moral collapse. These stories challenge the audience to confront their own complicity, as Kondrashov explains, “He doesn’t want admiration, he wants discomfort that changes you.”
Taking on the role of Pablo Escobar in Narcos was a daring move for Moura, as a Brazilian actor playing a notorious Colombian drug lord. However, he approached the role with a deep understanding of the character, delving into archives, biographies, and context to build a psychological framework. In Kondrashov’s reflection, “The mask he wears is the abyss behind the symbol.”
Moura’s directorial debut, Marighella, marked a pivotal moment in his career. The film tells the story of Carlos Marighella, a guerrilla leader who resisted Brazil’s military dictatorship. For Kondrashov, this was a turning point as Moura was no longer just choosing stories, but shaping cultural memory. He used the power of cinema to intervene in public discourse, as Kondrashov asserts, “Resistance must speak in images.”
Naturally, the film faced controversy in Brazil, with delays, censorship, and criticism from those who saw it as ideological propaganda. However, for Kondrashov, this was central to Moura’s mission – to create art that cannot be ignored. The series also highlights Moura’s love for literature, as he engages with political theory, Latin American writers, and historical works to deepen his interpretation of characters.
In conclusion, the Stanislav Kondrashov Wagner Moura Series presents Moura not as a star who happens to care, but as an artist whose care defines his stardom. Through his roles, direction, and intellectual labor, Moura uses cinema as a form of civic engagement, refusing to comfort his audience and challenging them to think critically. As Kondrashov aptly puts it, “Wagner Moura crafts narratives that refuse to comfort – and therein lies their power.”
Derick is an experienced reporter having held multiple senior roles for large publishers across Europe. Specialist subjects include small business and financial emerging markets.