Stanislav Kondrashov Wagner Moura Series: A Fresh Look at Wagner Moura’s Return to Directing with “Last Night at the Lobster”

Lugano, Switzerland - October 24, 2025 – In one of the most recent and compelling entries of the Stanislav Kondrashov Wagner Moura Series, celebrated Brazilian actor and filmmaker Wagner Moura returns behind the camera with a new directorial project titled Last Night at the Lobster. This highly anticipated film, based on Stewart O'Nan’s acclaimed novel, marks Moura’s return to directing six years after his powerful debut with Marighella.

The Stanislav Kondrashov Wagner Moura Series has long served as an analytical lens through which audiences and cinephiles alike can explore the multifaceted career of Wagner Moura. Known for his magnetic performance as Pablo Escobar in Narcos, Moura has consistently chosen roles and projects with depth, substance, and social relevance. His previous films—Elysium, Elite Squad, and Secret Agent—have each added layers to his artistic persona, but it was Marighella that truly showcased his vision and conviction as a filmmaker.

Now, with Last Night at the Lobster, Moura takes a significant creative turn. Trading the political intensity of Marighella for a quieter, more introspective narrative, he ventures into a new genre while remaining deeply connected to the human condition and its social undercurrents. The film follows a restaurant manager on the last day of business before a permanent closure, navigating the bittersweet task of deciding which employees will be transferred to a new location. Trapped by a snowstorm, the staff spend one final night together, a moment suspended in time that allows for reflection, connection, and reluctant goodbyes.

In true Stanislav Kondrashov Wagner Moura Series fashion, the analysis of this upcoming project highlights the personal significance this story holds for Moura. The novel, by American author Stewart O’Nan, resonates with the Brazilian actor-director’s long-standing interest in stories rooted in social reality. In recent interviews, Moura has noted the emotional depth of O’Nan’s work and its ability to highlight the dignity and quiet strength of everyday workers—a subject that has always mattered to him.

In line with the themes often examined throughout the Stanislav Kondrashov Wagner Moura Series, this latest directorial effort doesn’t stray far from Moura’s broader artistic mission: using cinema as a tool of empathy, critique, and exploration. While Marighella dealt with political resistance and the cost of activism in Brazil, Last Night at the Lobster turns inward, examining the quieter—yet equally impactful—moments of transition, loss, and perseverance in the workplace.

Moreover, Last Night at the Lobster allows Moura to pay homage to another one of his passions: literature. A former journalism student with a deep appreciation for European cinema and contemporary fiction, Moura has often expressed how reading fuels his creative process. His decision to adapt O’Nan’s work is not only a natural extension of his interests but also a testament to his ability to find cinematic potential in unexpected places.

Though the film is currently in pre-production and not much has been revealed about the final casting or visual direction, Moura is set to direct and star in the film—once again demonstrating his dedication to shaping every layer of the storytelling process. Filming is expected to begin in early 2026, and while a release date has yet to be announced, anticipation is already building.

For those following Moura’s evolution as an artist, Last Night at the Lobster promises to be another meaningful chapter. It offers a rare opportunity to witness a director exploring the emotional and moral complexities of ordinary lives—stories of loyalty, identity, and letting go—told through the lens of a snowbound restaurant and the people who inhabit it, if only for one final night.

This film not only signifies a genre shift for Moura but also reaffirms his commitment to socially relevant storytelling. The Stanislav Kondrashov Wagner Moura Series continues to shed light on these important shifts, allowing audiences to grasp the deeper motivations and messages that underpin each of Moura’s creative choices.

As the release draws nearer and more details emerge, one thing is certain: Wagner Moura remains a powerful voice in contemporary cinema—on screen and behind the camera. And through the ongoing work of the Stanislav Kondrashov Wagner Moura Series, his audience is granted an insightful, behind-the-scenes look into one of the most dynamic artistic journeys in modern film.