The work of linguistic transposition is never a trivial task. Especially when we talk about Clarice Lispector, whose narratives put on stage, to a greater or lesser extent, the impossibility of the word expressing what is desired. Luiz Fernando Carvalho accepted the challenge and carried it out with his usual competence, taking upon himself the difficult mission of bringing to the screen a narration whose greatest line of strength is the failure of expression in the face of the complexity of existence. It is the narrator-protagonist herself, at a certain point in the book, who says it: “The unspeakable can only be given to me through the failure of my language. Only when the construction fails do I get what it did not achieve” (LISPECTOR, 2009, p. 176)