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L.A.-headquartered Wild Sheep Content, the production and packaging company founded by former Netflix VP Head of International Originals Erik Barmack and partnered by The Mediapro Studio, has boarded “Where Is She?” a six-part YA mystery thriller and Globoplay Original from Brazil’s Fabricio Bittar whose movie “Unexplainable” (“Inexplicável”) hit over 20 million views on Netflix in 2025.

Despite being sold to Netflix for just Latin America and Portugal, “Unexplainable” also reached Netflix’s Global Non-English Top 3. Directed and co-written by Fabricio Bittar,  “Unexplainable” was produced by Lucas Veiga at Brazil’s Clube Filmes, the production company behind “Where Is She?” 

Also written by Bittar, whodunit “Where Is She?” begins when Kika, 16, Miss Guarulhos who is admired but envied, disappears during a school trip. The search for the culprit exposes the cruel side of her school and puts innocent people in danger. 

Years later, in a 2019 present day, Sarah, daughter of Kika’s alleged kidnapper who was found dead, begins a private investigation. She is pulled into a web of secrets where nothing is as it seems. The series unspools simultaneously the two timelines building to two huge twists, one in 2012 and another in 2019.  

“The global rise of YA mystery and thriller series has created a strong demand for character-driven stories centered on young protagonists and moral ambiguity,” Barmack told Variety. 

“At the same time, Brazil is confronting urgent conversations about how teenagers present themselves and social inequality, and having a YA story set in a seemingly stable community makes this narrative both timely and culturally resonant,” he continued.        

“The country is also experiencing a powerful wave of young acting talent capable of carrying emotionally complex, prestige-driven storytelling. ‘Where Is She?’ arrives at the intersection of market appetite and social relevance, offering a suspenseful mystery with contemporary weight and international appeal,” Barmack concluded. 

“Where Is She?” adapts bestselling crime novel “Quando Ela Desaparecer,” from Victor Bonini, part of his detective Conrado Bardelli book series. 

“I love mystery crime series and it’s a great novel,” said Bittar. Marking “Where is She?” apart, Bittar argued, is its setting of Parque CECAP, a modernist social-housing complex in Guarulhos, São Paulo state. “The complex, created by designers as an experiment in community living, allows it to emerge as a microcosm for society at large,” Bittar said. 

In the series, the neighbourhood stands out for its shared sense of safety until Kika goes missing and it plunges in paranoia and fear as the leads build up, testimonies contradict one another and almost everyone becomes a suspect. 

“The series talks about social interaction, how you might not know your neighbor as well as you think, nor your teacher, nor family nor friends,” Bittar said.    

“Where is She?” is not just a story about a missing girl. It is a story about image and power, and how far people will go to control the narrative. The deadliest weapon in the world is people’s secrets,” he added.  

“Where is She?” fields a top-notch cast led by Klara Castanho,  with 6.7 million Instagram followers and star of Netflix hit “Good Morning, Verónica,” which ran to three seasons over 2020-24, hitting the U.S. streamer’s Global Top 3, and Nanda Costa, with 3.8 million Instagram followers, star of “The Seamstress” which ran up RS12.4 million ($2.4 million) at the Brazilian box office.

Beginning his career at MTV Brasil, Bittar directed “How to Become the Worst Student in School” which, released in 2017, became one of the top 10 national box office hits of the year. Produced by Clube Filmes, “Exterminadores do Além contra a Loira do Banheiro (2018) played at over 15 international festivals. He also helmed “Alice no Mundo da Internet,” another Clube Filmes production, which was nominated for the Grande Prêmio do Cinema Brasileiro. 

Backed by Clube, Bittar’s movie follow-up to “Unexplainable,” “O Rei da Internet” will be released in Brazil this April by Vitrine Filmes, which opened Kleber Mendonça Filho’s “The Secret Agent.”  

Headed by Veiga and Bittar, Clube Filmes has produced nine features and three series, partnering with Warner Bros. Globo, Netflix and Fox, said Veiga.

Barmack compares “Where Is She?” to “Good Morning, Verónica,” Netflix No. 1 “The Killing,” from Fox Television Studios, Netflix and AMC and Globoplay smash hit “Perfect Days,” produced by Anonymous Content Brasil and named one of the best international series of 2025 by Variety as well as HBO Original “Mare of Eastown” and Hulu hit “Under the Bridge.” 

Globoplay boarded “Where Is She?” shortly before principal photography, Veiga noted. 

Its involvement comes as genre is gaining real traction on the streaming service, whether “Perfect Days” or real-life-based crime thrillers such as “The Anti-Kidnapping Unit,”“Dissident Archangel” and “The Game,” co-helmed by Vicente Amorim (“Dirty Hearts”) for “The Unit” and Heitor Dhalia (“Bald Mountain”) for “Dissident Archangel” and “The Game.”

“Globoplay is investing in more sophisticated series with higher production values, a cinematic language and international ambition,” said Barmack.

“One Battle After Another” dp Michael Bauman has won the top prize at the 40th annual American Society of Cinematographers Awards.

This year, the American Society of Cinematographers chose to nominate five DPs in the feature film category: “Frankenstein” (Netflix) — Dan Laustsen, “Marty Supreme” (A24) — Darius Khondji, “One Battle after Another” (Warner Bros.) — Michael Bauman, “Sinners” (Warner Bros.) — Autumn Durald Arkapaw and “Train Dreams” (Netflix) — Adolpho Veloso. All match the Oscar nominees in the cinematography category.

For statistic watchers, the ASC has matched the best cinematography Oscar 18 times over the last 39 years. However, last year’s winner, Ed Lachman who won best theatrical feature film at ASC for “Maria,” did not claim the Oscar, that went to Lol Crawley for “The Brutalist.”

Bauman landed two nominations this year, the other nod was for “Monster: The Ed Gein Story” (“Buxum Bird”) in the limited or anthology series or motion picture made for television category.

Mandy Walker, the 48th president of the American Society of Cinematographers kicked off the night’s events. She is the first woman to lead the century-old honorary society which was founded in 1919. She made history in 2024 when she became the first woman to win the top prize for Baz Luhrmann’s “Elvis.” Walker said, “We are a diverse representative international group of cinematographers that champion camaraderie, education, exchange of ideas and the advancement of the technology of cinematography.”

The first award of the evening, half-hour series, went to Adam Newport-Berra for “The Studio” (“The Oner”). “Black Rabbit” also triumphed in the TV category. There was a tie in episode of a one-hour regular series with both Alex Disenhof, ASC for “Task” (“Crossings”) and Christophe Nuyens, SBC for “Andor” (“I Have Friends Everywhere”) winning.

Seven-time nominee Rodrigo Prieto won his first ASC award in the music video category for Taylor Swift’s “The Fate of Ophelia.”

Jason Reitman presented Guillermo del Toro with the ASC Board of Governors Award. Reitman joked as he recalled meeting the “Frankenstein” director, “I knew I had a big brother when I suggested we buy the village theater in Westwood and asked for his support, he threw his hand up so fast, I think his accountant had a hernia.”

Reitman praised the filmmaker who has wanted to make Mary Shelley’s gothic novel since he was a young boy. “Guillermo was apparently already a gothic literature enthusiast. But this is why, like any virtuoso, there is an undeniable continuity of his work. This is why there are traveling art exhibits of his creations. This is why the name del Toro means something. Guillermo is not just a director of actors or stories. He is a director of atmosphere, of shadow, of architecture, of light.”

del Toro said, “Of all the collaborations in the world of image creation, the most intimate is with cinematographer and director.”

As a lover of film, and someone who has spoken out about AI and how “Frankenstein” was handmade by his team of artisans, he said, “We live in a very, very dangerous moment in which we are being told that image is something you can get on an app that anyone can create, and I say fuck, no.” del Toro went on to say, “When we come together, when we really vouch never to relinquish our duty, it doesn’t matter what the industry does, it doesn’t matter what the media does, it doesn’t matter what you can get on the phone or on the tablet. I don’t give a fuck. When we commit to the spiritual power of images, we can do everything.”

Cynthia Pusheck whose credits include “Our Flag Means Death” and “CSI: Miami” was presented with the Presidents Award. To celebrate International Women’s Day, Pusheck honored the women who came before her, praising those whose shoulders she stood on. She recognized Walker and said, “Mandy may be our first female president, but I’m pretty sure she won’t be our last because did you see how many women were in the photo out there tonight, or how many are sitting on our board now?”

Actor, writer and producer Kerri Kenney-Silver was the evening’s emcee. Kenney-Silver took a jab at the Warner Bros. Discovery Paramount’s Skydance deal. She joked, “Paramount Skydance just merged with the valet station, so you’re going to need your ticket, plus you’re going to need to sign up for HBO Max if you want to get your car tonight.” Kenney-Silver said, “The more chaotic our world is, the more chaotic our industry is, the more inspired images you create.”

The ASC Awards honored Robert Yeoman, ASC, with the Lifetime Achievement Award; M. David Mullen, ASC, with the Career Achievement in Television Award; Stephen Pizzello, editor-in-chief of American Cinematographer, with the ASC Award of Distinction. The Curtis Clark Technology Award went to Kodak.

Full list of winners below.

Theatrical Feature Film (Sponsored by Keslow Camera)

Michael Bauman for “One Battle After Another”

Episode of a Half-Hour Series (Sponsored by RED Digital Cinema)
Adam Newport-Berra for “The Studio” (“The Oner”)

Limited or Anthology Series or Motion Picture Made for Television (Sponsored by ARRI) 

Pete Konczal, ASC for “Black Rabbit” (“Isle of Joy”)

Episode of a One-Hour Regular Series (Sponsored by Panavision) *TIE*

Alex Disenhof, ASC for “Task” (“Crossings”)
Christophe Nuyens, SBC for “Andor” (“I Have Friends Everywhere”)

Spotlight Award (Sponsored by Panavision)

Mátyás Erdély, ASC, HSC for “Orphan”

Documentary Award (Sponsored by Canon U.S.A.)

Mstyslav Chernov and Alex Babenko for “2000 Meters from Andriivka”

ASC Music Video Award (Sponsored by Nanlux)

Rodrigo Prieto, ASC, AMC for “The Fate of Ophelia” (Performed by Taylor Swift)