The documentary 'Ney Behind the Masks' was shown for the first time on Saturday night, October 3rd, as part of the 'Première Brasil' showcase at the Rio Festival 2026. The film, directed by Esmir Filho and co-directed by Thais Guisasola, explores the backstage life of the singer.
In excerpts from the documentary, Ney Matogrosso admitted: 'I am constrained in this emotional matter. I hold myself firmly...'. This statement reflects the tone of the work, in which Esmir Filho, known for directing the feature film 'Man with H' (2025), investigates the preparations of the Imperatriz Leopoldinense samba school for the tribute parade at Carnival 2026, whose theme will be 'Chameleonic.'
The film shows Ney taking off his masks and costumes, even becoming nude before Esmir's and co-director Thais Guisalosa's cameras, presenting himself uninhibited after showering. However, despite exposing his body, the documentary points out that the artist's emotional restraint remains intact.
Various scenes from Ney's life are portrayed: he is seen at home having breakfast, interacting in the Imperatriz's workshop and on the association's court, in addition to appearing in the parade itself and in the dressing rooms. In these environments, the artist's characteristic libertarian discourse echoes, always marked by boldness.
Although the focus could have been sharper by only following the creation of the Imperatriz Leopoldinense parade, Esmir Filho expanded the scope of the narrative. The documentary also presents scenes of Ney in his natural environment, a 140-hectare farm in the Atlantic Forest in Sampaio Correia, Saquarema district (RJ), where, with Ibama's permission, he releases wild animals, such as a boa constrictor.
'Ney Behind the Masks' also records the singer in the stadium dressing room of Nubank Park in São Paulo before a performance on the 'Street Block' tour. However, the text criticizes this aspect, mentioning that the previous documentary, 'Bare Eye' (2014), by Joel Pizzini, had already allowed the public to see Ney Matogrosso through stage gaps and the forest, within the limits of freedom accepted by the artist.
Additionally, the documentary goes beyond the Carnival backstage, showing the singer interacting with the seamstresses of the Imperatriz Leopoldinense costumes and other school workers, acting without ostentation or stardom. A notable difference is the exploration of Ney's relationship with his mother, Beita de Souza Pereira (1922 – 2026), who passed away in March of this year at the age of 103.
Despite the interesting elements, the article concludes that even when Ney releases the boa constrictor, he himself never completely frees himself in front of the cameras, resulting in a documentary that remains contained and fails to fully achieve its apotheosis.