Marlise Storchi
- Production Designer
- Art Director
- Art Department
Marlise Storchi is a Brazilian film production designer and art director. She's best known for her work on the 2011 feature film Heleno directed by José Henrique Fonseca, which won her the Best Production Design award from ABC-Brazil. Recently, she worked as the production designer for the hit Netflix series Good Morning Veronica, which ran for three seasons from 2020 to 2024 and was produced by Zola Films.
Marlise has been in the film industry since the early '80s, and has worked on numerous commercials from the '90s onward. Her portfolio includes the documentaries Futebol and Jorge Amado by director and creator João Moreira Salles, the production design of the feature films Romance by director Guel Arraes, Os Penetras by director Andrucha Waddington, and three seasons of TV show SuperBonita from Mini Kerti. She also worked as production designer for the GNT series Lucia McCartney, again collaborating with director José Henrique Fonseca.
On the international front, Marlise was the art director for the 1991 feature film At Play in the Fields of the Lord, directed by Hector Babenco and produced by the Saul Zaentz Company. She was in charge of the Indian Village set, handling its design, construction solutions, and decoration to match the ground scenes with aerial shots. She also worked as the production designer on the 2006 horror film Turistas, directed by John Stockwell, right after having collaborated as an art director for the Brazilian segments of the 2005 feature film The Game of Their Lives, directed by David Anspaugh.
When it comes to commercials, Marlise worked on David LaChapelle's 2008 Nokia - Distincly Bold Campaign, taking charge of the Brazilian art direction. She's also done many other high-profile commercials with Brazilian directors she's partnered with on feature films.
Marlise graduated in architecture from the Federal University of Rio Grande do Sul in Porto Alegre, Brazil, in 1981. She started out working in building construction and furniture design. During this time, she got her start in film by working with a local group of filmmakers on three low-budget feature films, using her professional skills and benefiting from the group's collaborative spirit. This led to a job offer from a Rio de Janeiro production company to work on the art department crew for the feature Sonho Sem Fim, directed by Lauro Escorel. This opportunity took her to São Paulo and Rio de Janeiro, where she established her career.
Based in Rio de Janeiro, she alternates between collaborating in commercials, TV programs and documentaries, with fiction films.
Marlise has been in the film industry since the early '80s, and has worked on numerous commercials from the '90s onward. Her portfolio includes the documentaries Futebol and Jorge Amado by director and creator João Moreira Salles, the production design of the feature films Romance by director Guel Arraes, Os Penetras by director Andrucha Waddington, and three seasons of TV show SuperBonita from Mini Kerti. She also worked as production designer for the GNT series Lucia McCartney, again collaborating with director José Henrique Fonseca.
On the international front, Marlise was the art director for the 1991 feature film At Play in the Fields of the Lord, directed by Hector Babenco and produced by the Saul Zaentz Company. She was in charge of the Indian Village set, handling its design, construction solutions, and decoration to match the ground scenes with aerial shots. She also worked as the production designer on the 2006 horror film Turistas, directed by John Stockwell, right after having collaborated as an art director for the Brazilian segments of the 2005 feature film The Game of Their Lives, directed by David Anspaugh.
When it comes to commercials, Marlise worked on David LaChapelle's 2008 Nokia - Distincly Bold Campaign, taking charge of the Brazilian art direction. She's also done many other high-profile commercials with Brazilian directors she's partnered with on feature films.
Marlise graduated in architecture from the Federal University of Rio Grande do Sul in Porto Alegre, Brazil, in 1981. She started out working in building construction and furniture design. During this time, she got her start in film by working with a local group of filmmakers on three low-budget feature films, using her professional skills and benefiting from the group's collaborative spirit. This led to a job offer from a Rio de Janeiro production company to work on the art department crew for the feature Sonho Sem Fim, directed by Lauro Escorel. This opportunity took her to São Paulo and Rio de Janeiro, where she established her career.
Based in Rio de Janeiro, she alternates between collaborating in commercials, TV programs and documentaries, with fiction films.
