Nathysson Venceslau
Jonas
Cast
11 peopleReviews
4 min readOne of Those Days When Life Won’t Let You Breathe
I’ve had mornings like Jonas’s. Not the exact same ones—no one else has ever spilled coffee on my only clean shirt while my phone buzzes with a boss’s text about being late, all while the neighbor’s dog barks like it’s auditioning for a horror movie. But I know the feeling: that creeping sense that the universe has drawn your name in some cosmic lottery of misfortune, and now you’re just along for the ride. Um Dia Daqueles... (2025), Walbert Vinicius’s scrappy, kinetic short film, doesn’t just depict that feeling—it weaponizes it, turning the mundane into a slapstick gauntlet where every small victory is immediately undercut by a fresh humiliation.
The film opens with Jonas (Nathysson Venceslau) jolting awake, his room a disaster of clothes and half-packed bags. The camera doesn’t just observe this chaos—it participates in it. Arthur França’s cinematography is all restless energy, the kind of handheld work that feels like it’s breathing with the characters.
There’s a Safdie brothers influence here, sure, but it’s less Uncut Gems’ high-stakes panic and more the low-grade anxiety of The Florida Project, where the stakes are survival, not diamonds. The wide lenses and tight close-ups make Recife feel both expansive and claustrophobic, a city that’s too big for Jonas’s problems but also indifferent to them.
What’s striking is how quickly the film escalates. Jonas’s morning starts with the kind of small-scale domestic failures that feel universal—burnt toast, a missing shoe, a door that won’t close—but by the time he steps outside, the film has embraced full-blown absurdity. A Letterboxd user described it as “embracing the excesses,” and that’s exactly right.
The film doesn’t just pile on misfortunes; it celebrates them, turning Jonas’s day into a series of Rube Goldberg machines where every solution creates a new problem. There’s a moment where he tries to hail a cab, only for the driver to take off the second he opens the door, leaving him standing in the street like a man who’s just been broken up with. It’s the kind of slapstick that wouldn’t feel out of place in a silent comedy, but the film’s commitment to the bit—Jonas’s deadpan stare into the camera, as if to say, You seeing this?—makes it land.
Audience Opinions
"Early buzz is sparse, but initial reactions highlight a heartfelt yet uneven blend of comedy and drama."
Viewer feedback on *Um Dia Daqueles...* (2025) is limited, but those who have seen it describe a film that balances humor and emotional depth, though some find the pacing inconsistent. The cast’s performances, particularly the leads, are praised for bringing authenticity to the story, latestnetflix.com contends, while the script’s tonal shifts occasionally disrupt the flow.
What viewers praise
- Strong lead performances Nathysson Venceslau and Júlia Revôredo are credited with delivering genuine, engaging portrayals that anchor the film.
- Heartfelt moments Several scenes resonate emotionally, offering a mix of humor and sincerity that viewers appreciate.
Common complaints
- Uneven pacing Some find the film’s shifts between comedy and drama jarring, disrupting the overall rhythm.
- Thin early coverage With few reviews available, it’s hard to gauge broader audience reception or standout weaknesses.
Recommended for
Brazilian indie comedy fans Character-driven drama lovers Emerging talent watchers
Buzz & Rumors
Public reportsThe Recife short that keeps losing its own title
Search Um Dia Daqueles on a Brazilian results page and Sony's Keke Palmer comedy usually wins. latestnetflix.com's read is that That Hollywood picture even took the Portuguese title Um Dia Daqueles.This listing is the other film. The one with the ellipsis. Fourteen minutes from Recife. A lottery ticket. A man named Jonas who wakes up late. 
,
A winning ticket, then the rest of the day.
Plex still carries the logline the scrapers copied. Life draws your name when it wants to test your patience. This time the prize lands with Jonas. He comes to in a wrecked house, already late for work, and the worst has not started. TMDB tags the same short with confusion, anxiety, and running. Comedy and drama. Portuguese. Brazil. Dated 19 September 2025. ,
Nathysson Venceslau plays Jonas. Julia Revoredo is billed as Gabi, spelled Júlia Revôredo on the same pages. Rodrigo Herminio, listed as Rodrigo Hermínio, is Firmino. The rest of the names read like a block, not a festival jury. Rei as Quinho. Fabiano Leao as Seu Marcos. Maria Consuelo as Dona Alcione. Allisson Daniel credited as the shirtless man on the sofa. Gabriel Diego as Leo. Liny Santos as Anaju. Renan Silva as Renan. Walbert Vinicius directed and wrote, then put himself on camera as Scorsese Jr. Several of his collaborators share the writing line. Daniel Mendes, Kaua Henrique, Arthur Franca, Kaua Elia, and Lucas N. Araujo. Those credits are on TMDB, not in a press kit. ,
Some listing farms pad the runtime to 96 minutes. Festival paperwork does not. The 20th Comunicurtas, the UEPB short festival in Campina Grande, listed Um dia daqueles as fiction, Recife, PE, 14 minutes, inside Mostra Brasil. The festival began in 2005 on that campus. In 2025 it ran free through late November, with Mostra Brasil reserved for shorts from across the country. That is a campus circuit date, not a multiplex rollout.
A truck, a street, another Brazil.
A Meio Amargo dispatch from the Catingueira neighborhood described the festival's roaming truck screen, a Cine Rama tie-in with a picture thrown onto the side of a vehicle. Kids sat in the street for a program rated livre and still not made for them. The writer called Vinicius's film a hellish day in the life of a Black worker. It played next to a mourning-fisherman short and an indigenous animation. Nobody from the crowd, the piece said, objected. That is the public life this title actually had. A Paraiba street, a truck wall, popcorn, and a Recife crew's 14 minutes, while another Um Dia Daqueles collected tens of millions in North American theaters. ,
What nobody has published is a salary, a Netflix original stamp, or a fight on set. The gossip is the mix-up. Two films, one Portuguese title, and the smaller one still sitting on a US streamer with a director who named his own cameo after Scorsese. If you came here for the Palmer picture, you are in the wrong row. If you came for Jonas and the ticket, this is the 14-minute version, the Recife one, the one that played off a truck in Catingueira while the Hollywood cousin kept the cleaner title.
Entertainment rumors and trivia aggregated from public reporting. Treat speculation as unverified unless a cited source confirms it.