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Before making her debut on open TV on Globo, Karol worked for four years on the YouTube channel Parafernalha, where she participated in comedy sketches. On television, he was responsible for series such as “Questão de Família” (2015, GNT), “República de Férias” (2015, TV Rio Sul) and “We Have Vagas” (2014, TV Rio Sul). At Globo, she participated in the TV series “A Dona do Pedaço” (2019) and “Quanto Mais Vida, Melhor” (2021), and was nominated for the New Actress Award in Melhores do Ano, from Domingão do Faustão, for the role of Sabrina.

In cinema, he was part of the feature film “Os Parças” (2017, Dir. Halder Gomes) and, more recently, he was in the main cast of the series “Sem Filtro” (2023, Netflix), as well as “Tremembé” (2025, Prime Video). At the same time, he built a strong theatrical career, acting in shows such as Kafka and the Traveling Doll (2024), which earned him an APTR Theater Award, and in Daniel Herz’s musicals, among other works that highlight his artistic versatility.

In an interview with ELA Magazine, Carol spoke about building complex characters, transitioning between different mediums and the importance of maintaining emotional integrity when faced with intense roles.

When commenting on her character in Tremembé, Carole reflects on what it means to play defiant women and how that relates to female empowerment.

“Yes, I had strong characters, and I like to embody complex women. Bettina, from Quanto Mais Vida Melhor, for example, is an everyday force: a hard-working young mother, overtaken by masculinity and yet full of joy. Elise, on the other hand, is strong in the sense of artistic challenge. I see this strength in the work of the actress: in the choices I had to make, in the emotional commitment and in the moral responsibility to play an existing person whose path includes pain, violence and very serious consequences. After 30, I feel like my body, listening, and emotions are more equipped to deal with this kind of complexity. For me, ’empowering women in art’ is not about imitating difficult stories, it’s about having the space, depth and independence to tell them without simplifying them, okay?,” she says.

Carol also comments on the challenges of navigating between different platforms.

“I think it’s elegant, but there’s no magic behind it. It’s the result of a lot of determination, study and work. I remember being the person who didn’t go to parties because I was writing a play or setting a college scene. I was never the actress who stayed at home waiting for work to come out… although of course I cried because of the lack of opportunities and money. But I did it all: I swept the stage floor for other people to get on stage, I had surgery. “I helped direct, and created my own play when I was 19. “I’ve always done it, looked for it, observed it.”

The actress attributes building her path to diversity of experiences. He says: “This multiplicity shapes me because it reminds me daily of where I come from and what really moves me: a good obsession with art, with the word, with the spectacle. This is what takes me from the stage to the live broadcast, and this is what makes me try and study…” he says.

When talking about her performance in “A Dona do Pedaço,” Carol assesses the pressure of meeting audience expectations.

“Indeed, A Dona do Pedaço changed me. It was my first great work and I was nominated as New Actress in the Best of the Year award, which made me very happy and grateful. But it also brought me an important awareness: television is about speed. A week after the end of a series, the memory of the audience, and often the memory of the industry itself, moves elsewhere. The producers, directors and screenwriters who called you ‘genius’ move on to the next stage. ‘They don’t know your name anymore…and that’s part Of the game, which is why I continue to search for theater and branch out artistically on other fronts.”

His comedic background has also influenced his work in dramatic roles.

“Paravernalaha was a great school for me: improvisation, rhythm, relationships with the team and, basically, playing. There I also saw what I didn’t want as an actor. After that I worked a lot with humour, and it was always based on studies like clowning, which I consider to be one of the strongest and purest languages in theatre. Dramatic. Humor taught me that pain and laughter are neighbors, and that one emotion exists only because the other exists as well.”

About Elise Matsunaga, convicted of murdering and dismembering her husband in 2012 in São Paulo, Carroll detailed how she prepared to play such a controversial character:

“I divided the process into sectors, because I knew that I would not be able to deal with Elise’s complexity unless I understood each layer before putting everything together. I started alone, watching everything about her to map out the gestures, the speech, the silence. Then I went to the book Ulysses, which gave me another perspective. From there I got into the script, understanding the show’s point of view and what that story was asking of me. Only then did we go into the rehearsal room, to connect with the team and the co-stars, where everything I also built an emotional graph For the character, because I didn’t want it to stay in one tone throughout the series I needed to find the nuances, the cracks, the subtle points of humor, that prevent the real character from becoming a caricature. “And honestly, I studied a lot. For me, there’s fun in playing that way.

The artist appreciates the impact of live broadcasting on Brazilian audiovisual media. “It’s very good, people. Live streaming has greatly expanded our horizon. Brazil has always produced incredible things, we are the country that made Central do Brasil, Cidade de Dios, Manas, Cangasú Novo. With live streaming, we have gained more space to show this creativity. Today, the audience chooses what they want to watch, and this freedom requires from us artists, creators and producers a greater commitment to quality. Series are still the face of Brazil, and I think it’s a really good thing, but now we have more ways and more Possibilities for storytelling Live broadcast does not replace television or cinema: it expands the territory, and the larger the space, the greater the responsibility we have to do work that respects the potential that Brazil has.

When asked how she maintains her mental health when faced with intense personalities, Carol revealed:

“You need to create a lifestyle. Friends, a glass of wine, samba, a clean and tidy house, external organization and the love of those I love, my friend who supports me and puts me to sleep when he gets tired.”