Ariela Goldmann

Ariela Goldmann


Ariela Goldmann is an Intimacy Coordinator certified by the Intimacy Professionals Association (IPA) and an Acting Coach with more than 30 years of experience in the film industry. Goldmann has also worked as Fight Coordinator for shows, series and feature films for 25 years. Goldmann has worked since 2002 with Narrative Direction, a methodology she developed to enhance interpersonal communication in professional contexts. She began her career in the Theatre as an Actress and Movement Coach, before becoming a Director.




Cinematic Kiss


Intimacy

Coordinator

Cinema and Series


Certified by

IPA Certified




An Intimacy Coordinator (IC) is someone who collaborates with the filming process in two ways: on the one hand, serving the director’s vision and contributing to the preparation of the intimacy scenes in the screenplay. On the other hand, the IC ensures that the actors’ boundaries are respected so that they feel more free to focus on their performances and on what the scene expresses about the relationship between their characters.



Cinematic Embrace

In what kind of scenes can an Intimacy Coordinator help the production?



An IC will collaborate on:

  • Simulated sex of any kind, including masturbation;
  • Nudity or implied nudity scenes;
  • Sexually explicit photos or videos;
  • Making out situations (even if over clothing);
  • Kissing between minors;
  • Familial intimacy;
  • Medical scenes;
  • Anything that is intimate in nature or any other scene where a performer feels a need for support.

Performing an intimacy scene poses several challenges for an actor:

  • Understanding what their own boundaries are, both in terms of exposure and of movement or touch they agree to engage in with their relationship with other actors;

  • Being able to communicate what those boundaries are for the construction of the scene, without external pressure.

  • Knowing exactly what will be asked of them in the scene.

  • Expressing their characters in a way that serves the narrative.

  • Being on a protected set where protocols are respected and professional language is used regarding intimate scenes.

The role of the Intimacy Coordinator is precisely to ensure that those challenges are addressed so that the focus can be put on presence and concentrating on performance.


What are the advantages of working with an intimacy coordinator?

  • Shooting time is optimized;

  • Professional conversation about sensitive topics;

  • Ensuring that the actors can set their limits without any external pressure;

  • The IC will work with directors and actors to create a choreography and/or movements for an intimacy scene, so that the actors can concentrate on their performance;

  • Helping production to guarantee protocols for a protected and respectful set.






A couple looking at each other


Pecadora

Pecadora, 2026

Dolores

Dolores

De Volta aos 15

De Volta aos 15 - Temporada 3

As Five

As Five - Temporadas 2 e 3

Estamos Juntos

Estamos Juntos

Latitude Zero

Latitude Zero



Ariela Goldmann Portrait

About


Ariela is an Intimacy Coordinator (IPA certified) and Casting Coach.

Her work in the theater began over 35 years ago as an Actress and Movement Coach, and later as a Director and Fight Coordinator. In 1992, she began her career as a Fight Director/Coordinator in film and theater. In 2000, Ariela was awarded the Brazilian Theater Shell Prize for her contribution to the Theater through her body of work in this role. She has worked as a Fight Coordinator for 25 years in cinema, collaborating with directors such as Walter Salles, Fernando Meirelles, Cao Hamburguer, Sérgio Machado, Karim Aïnouz, Marcelo Gomes, Tata Amaral, among others.

From the year 2000 onwards, she began to be asked to do intimacy scenes and since then has been developing her practice as an Intimacy Coordinator, which continues to this day. As an IC, Ariela collaborated with the films A Pecadora, directed by Dainara Toffoli, Dolores, directed by Marcelo Gomes and Maria Clara Escobar, De Volta aos 15, season 3 and the series As Five, seasons 2nd and 3rd, among others.

From 2009 onwards, Ariela began working as an Acting Coach on films and series such as As Five, Rota 66, Sobre Rodas, PSI and Xingu.

She has worked for platforms like HBO, Netflix, Globoplay, as well as for the main production companies in Brazil, like O2, Gullane, Biônica, Glaz and Mixer.

Ariela is also an expert in interpersonal communication in the working environment. She has created and developed the Narrative Direction, a methodology to improve interpersonal relationships at work through the improvement of communication among people in multiple professional situations. She has been serving both individual and corporate clients for more than 20 years, like doctors, CEOs, designers, entrepreneurs, HRs and laywers, and companies such as Unilever, Lojas Renner, AlmapBBDO, Johnson&Johnson, Porto Seguro, Natura, IED (Instituto Europeo di Design), Claro, etc. She also collaborates with VRD (Reinventing Innovation Design).

Among other teaching activities, she helped to implement Theater as a discipline in the Law Course of the Fundação Armando Alvares Penteado - FAAP (Brazil).

Ariela has a bachelor’s degree in Performing Arts from the School of Communications and Arts of the University of São Paulo (Brazil), attended the One Year Acting Course in Classical and Modern Theatre at the London Academy of Music and Dramatic Art - LAMDA (England). She also has a postgraduate degree in Documentary by the Fundação Getúlio Vargas (Brazil).





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Acting Coach Banner

Acting

Coach

Cinema, TV and Series

Pecadora

Pecadora, 2026

Uma Família Feliz

Uma Família Feliz

As Five

As Five, Temporadas 2 e 3

Sobre Rodas

Sobre Rodas

Rota 66

Prep Elenco Infantil

Que Monstro Te Mordeu?

Que Monstro Te Mordeu?

Lili a Ex

Lili a Ex, Temporadas 2 e 3

Jonas

Jonas

Personagens: Ação, Relação, Desejo e Estrutura Dramática

Personagens: Ação, Relação, Desejo e Estrutura Dramática

Xingu

Xingu

Estamos Juntos

Estamos Juntos

O Absolutismo das Coisas

O Absolutismo das Coisas

PSI

PSI, Temporada 2

Mulheres Alteradas

Mulheres Alteradas

Fuzuê

Fuzuê

Se Precisar de Algo

Se Precisar de Algo

Vai Ter Troco

Vai Ter Troco


Coordenação de Lutas Banner

Coordination and Direction of

Fights

Theater, Cinema, Series and Opera

Retrato de Um Certo Oriente

Retrato de Um Certo Oriente

Escola de Gênios

Escola de Gênios

3%

3%

PSI Temporada 1

PSI - Temporada 1

Destino SP

Destino SP

A Busca

A Busca

Amor em Quatro Atos

Amor em Quatro Atos

Xingu

Xingu

Quincas Berro D'Água

Quincas Berro D'Água

Som e Fúria

Som e Fúria

O Contador de Histórias

O Contador de Histórias

Alice

Alice

Linha de Passe

Linha de Passe

Antonia

Antonia

O Signo da Cidade

O Signo da Cidade

Cidade Baixa

Cidade Baixa

Violence on Screen

Violence on Screen

Da Cor do Pecado

Da Cor do Pecado

Theater Shell Prize 2000

Theater Shell Prize 2000

Rei Lear

Rei Lear

Um Céu de Estrelas

Um Céu de Estrelas

Bellini e a Esfinge

Bellini e a Esfinge

Scapino

Scapino

Latitude Zero

Latitude Zero

Carmen

Carmen (Ópera)

Oeste

Oeste

PPP Parlapatões

PPP Parlapatões

Dois Perdidos

Dois Perdidos

Barrela

Barrela


Direção Banner

Director

Theater and Documentary



Sami International Show

Sami International Show - Doc

Parque das Noivas

Parque das Noivas, Rua da Luz - Performance

Novas Diretrizes

Novas Diretrizes em Tempos de Paz

Crítica

Crítica: Novas Diretrizes

Portugal

Novas Diretrizes - Portugal

Guia da Folha

Diretrizes - Guia da Folha

Todos ao Teatro

Todos ao Teatro

Edmund

Edmund

O Acidente

O Acidente

Acidente

O Acidente

Bravo

Crítica Bravo

Matzpun

O Matzpun dos Raca - Doc

Narcisianas

Narcisianas

Narcisianas Ensaios

Narcisianas - Ensaios

Folha

Narcisianas - Folha

Narcisianas

Narcisianas - Ensaios

Narcisianas

Narcisianas - Ensaios

Veja

Narcisianas - Veja

Ensaios

Narcisianas - Ensaios

Verso Programa

Narcisianas - Programa

121023J

121.023J

Crítica

Crítica: 121.023J

121.023J

121.023J

121023J

121.023J

Do Cérebro ao Comportamento

Memorabilia

Memorabilia - Texto, Direção e Atuação

Prodígio

O Prodígio do Mundo Ocidental

Blitz

Blitz - Capa Programa

Caiu o Ministério

Caiu o Ministério

No Papel da Vítima

No Papel da Vítima


Direção de Narrativa

Narrative

Direction

The Narrative Direction was created in 2002 and has been developing ever since, through uninterrupted practice. Serves individuals, companies, NGOs, and associations. The goal of the Narrative Direction is to improve communication between people, especially in challenging situations, to positively impact work dynamics, careers, and projects.

Narrative Direction focuses on the relationship between people in the professional world, through the improvement and development of their communication. In this sense, communication is seen as a strategic tool for improving relationships at work.

Throughout these years, professionals from various specialties have been served: doctors, executives in various sectors, professors, researchers, designers, lawyers, entrepreneurs, headhunters, etc..

Companies such as Unilever, Lojas Renner, AlmapBBDO, Johnson & Johnson, Porto Seguro, Natura, Claro, Uber, among others, have also been served by Narrative Direction.

Ariela collaborated with projects at VRD Research and taught at the Istituto Europeo di Design (IED), bringing the Narrative Direction experience to the presentation of innovation projects. She also developed a program to improve the relationship between resident doctors and patients. Ariela continues to serve both individual and corporate clients.



Narrative Direction IS NOT:


  • Coaching: Ariela Goldmann has no training as a coach and does not follow its precepts.

  • Therapy: Ariela has no training as a therapist.

  • Marketing: Narrative Direction works on the relationship between people, not between consumers and brands or products.

Ariela Goldmann

The professionals who are assisted by the Narrative Direction are not considered actors representing characters or personas, but rather individuals who find themselves in challenging moments that require them to build new relationships and new communication strategies.

You are welcome to learn about the Narrative Direction and how it works. The first meeting lasts 90 minutes and is only charged if you want to continue with the work.


Write to contact!


SOME REQUESTS THAT HAVE ALREADY BEEN MET BY THE NARRATIVE DEPARTMENT:

  • I have difficulty communicating with teams, peers, bosses, partners, customers, suppliers, etc.

  • I have changed positions (new relationships) or company (new culture) and feel that I need to communicate differently.

  • I have difficulty understanding what is at stake in certain professional situations.

  • I have difficulty communicating my results, skills, or qualities, which prevents people from recognizing my competence.

  • I have difficulty presenting projects, giving presentations, lectures, or speaking up in meetings.

  • I have difficulty communicating with people who are more senior than me.

  • How can I communicate disruptive projects?

  • How can I communicate with another department that thinks completely differently from mine?

  • How can I prospect clients more effectively?

  • I would like to improve how I perform in my company's Results Presentation to shareholders.

  • How can I convey scientific or complex information to a lay audience?

  • I want to improve my performance as a teacher in the classroom.

  • I must present my Master's/Doctorate and prepare for the examination board.

  • I am applying for a position as a Professor or Full Professor: I have to write a memorial, give a class about my research in my field, and prepare for the board's questions.

  • I suffered moral harassment at work and now I have difficulty asserting myself.

  • I am in a career transition; I need to understand what changes to make in my communication.

  • I was called for a job interview. I don't know what or how to talk about my previous professional experience.

  • I am running for public office where I must present a project and prepare for questioning.