Acting

Lyla Collares

Known for

Acting

Credits

3 titles

Known for

Olho no Olho poster
7.7

In Rome, Armando confesses to Father Guido Bellini that he is being hunted by a criminal organization led by a young man with paranormal powers. Some time later, Guido discovers that Armando has died and, feeling guilty for not having tried to prevent the man's murder, decides to leave the priesthood and return to Brazil. In the city of São Paulo, Guido dedicates himself to the study of paranormal phenomena in order to combat the organization led by César Zapata and his son Fred, the powerful young man to whom Armando referred. To confront the Zapatas, Guido relies on the help of Alef, also a paranormal young man who does not yet have full control of his powers. Alongside his fight against the criminal organization, Guido has a romance with Débora, Alef's mother. His main opponent, César, also likes Débora and does everything to separate her from Guido. He wages a veritable war against the former priest, using Fred's evil powers.

Olho no Olho

1993

Perdidos de Amor poster
8.0

Maria Luísa Ferreira de Albuquerque Caldas is a wealthy young woman living in a mansion in Alto Leblon. She belongs to an aristocratic Rio de Janeiro family and is engaged to Pedro Henrique Oliveira Andrade Neto. Together they form the perfect "rich kid and socialite" couple: beautiful, rich, charming, and modern. Her father is Fabiano Caldas, a nearly bankrupt businessman, but with a lot of airs, who relieves his tensions by squandering money he doesn't have on mistresses, further worsening the situation. Her mother is Eleonora, a very classy woman, but blind to the world and reality.

Perdidos de Amor

1996

Serras Azuis poster
7.0

The involvement of Lígia das Graças Paiva with Gaius Gutemberg Roldão. More than just children of rival families, they are survivors of a massacre that nearly wiped the city off the map. Under the curse that the blood of a Roldão cannot mix with that of a Paiva, both will face much trouble. However, the tragedy is softened by parallel stories: power struggles, union politics, revenge, betrayals, gossip, witchcraft, and even a character from Brazilian folklore: the headless mule.

Serras Azuis

1998

Series credits

Olho no Olho poster
7.7

In Rome, Armando confesses to Father Guido Bellini that he is being hunted by a criminal organization led by a young man with paranormal powers. Some time later, Guido discovers that Armando has died and, feeling guilty for not having tried to prevent the man's murder, decides to leave the priesthood and return to Brazil. In the city of São Paulo, Guido dedicates himself to the study of paranormal phenomena in order to combat the organization led by César Zapata and his son Fred, the powerful young man to whom Armando referred. To confront the Zapatas, Guido relies on the help of Alef, also a paranormal young man who does not yet have full control of his powers. Alongside his fight against the criminal organization, Guido has a romance with Débora, Alef's mother. His main opponent, César, also likes Débora and does everything to separate her from Guido. He wages a veritable war against the former priest, using Fred's evil powers.

Olho no Olho

1993

Perdidos de Amor poster
8.0

Maria Luísa Ferreira de Albuquerque Caldas is a wealthy young woman living in a mansion in Alto Leblon. She belongs to an aristocratic Rio de Janeiro family and is engaged to Pedro Henrique Oliveira Andrade Neto. Together they form the perfect "rich kid and socialite" couple: beautiful, rich, charming, and modern. Her father is Fabiano Caldas, a nearly bankrupt businessman, but with a lot of airs, who relieves his tensions by squandering money he doesn't have on mistresses, further worsening the situation. Her mother is Eleonora, a very classy woman, but blind to the world and reality.

Perdidos de Amor

1996

Serras Azuis poster
7.0

The involvement of Lígia das Graças Paiva with Gaius Gutemberg Roldão. More than just children of rival families, they are survivors of a massacre that nearly wiped the city off the map. Under the curse that the blood of a Roldão cannot mix with that of a Paiva, both will face much trouble. However, the tragedy is softened by parallel stories: power struggles, union politics, revenge, betrayals, gossip, witchcraft, and even a character from Brazilian folklore: the headless mule.

Serras Azuis

1998