A work in constant progress (and occasional regress).
Alias:
Daniel Claudino
Daniel Claudino Batista
Дэн Клаудино
דן קלאודינו
丹·克劳迪诺
댄 클라우 디노
Birthplace:
Santo André, São Paulo, Brazil
Born:
October 7, 1996
Dan Claudino (born 7 October 1996) is an Brazilian actor, performer, stage director, and voice actor, known for his starring roles in A Última Oração (2025), Tem Alguém em Casa? (2022), dEus (2022), Whey: Uma Saga Anabólica em Busca da Verdade (2023), Amor à Terceira Vista (2022), Pule ou Ocorrência às 4h48 (2020), and Flores Secas (2017). Born in Santo André, São Paulo, as Daniel Claudino Batista, Dan is the middle child in a family of five, with a twin brother, an older brother, an older sister, and a younger brother. His parents are Rita Claudino and Claudio Francisco. At the age of 11, he began attending a theater school, where he started his artistic career performing in short theatrical productions. Dan made his professional theater debut at 15 in Mistério na Sala de Ensaio e Outras Histórias, portraying Célio. He graduated with a degree in Performing Arts in 2018. His film credits include Borboleta (2024), where he plays Lucas, Eco (2024) as Gabriel 'Gabbss' Neves, Tem Alguém em Casa? (2022) as Airton, dEus (2022) as Gustavo, Whey: Uma Saga Anabólica em Busca da Verdade (2023) as Marcos, Amor à Terceira Vista (2022) as Léo, Flores Secas (2017) as Frederico 'Fred', a double role with his twin brother Davi Claudino, among others. Notably, he starred in the film adaptation of the play Pule ou Ocorrência às 4h48 (2020), which was recorded at home during the Covid-19 pandemic and broadcast live on Facebook. In television, Dan appeared in the third episode of the miniseries Extremos da Cidade (2014), which highlighted the significance of artistic production in São Paulo. He has also directed and appeared in several music videos, including works for Grupo Aspas and Leo Lotho. His theater repertoire includes acclaimed productions such as À Deriva (2019), O Último Carro (2018), The Balcony (O Balcão) (2017), 4.48 (2016-2017), Adolescer Indefinido (2016), O Casamento de Mané Bocó (2015), and the award-winning Histórias de bobos, bocós, burraldos e paspalhões (2014-2016), which toured multiple cities in São Paulo, Brazil. Dan directed and starred in the play Pule ou Ocorrência às 4h48 (2019-2021), which received accolades for its production. Currently based in São Paulo, Dan is pursuing a degree in Cinema at Anhembi Morumbi University and has authored a horror story titled Entre Nós, Um Assassino (A Murderer in Our Midst).
Director:
2019 Leo Lotho: Olhar
2019 Y3ll & Sloope: Sonhoz
2020 Jump or Occurrence at 4:48am
2025 The Last Prayer
Film Processor:
2019 Leo Lotho: Olhar
2019 Y3ll & Sloope: Sonhoz
2020 Jump or Occurrence at 4:48am
2025 The Last Prayer
Producer:
2019 Leo Lotho: Olhar
2019 Y3ll & Sloope: Sonhoz
2020 Jump or Occurrence at 4:48am
2023 Whey: An Anabolic Saga in Search of the Truth
2024 Echo
2025 The Last Prayer
Writer:
2019 Leo Lotho: Olhar
2019 Y3ll & Sloope: Sonhoz
2020 Jump or Occurrence at 4:48am
2022 Is There Anyone Home?
2023 Whey: An Anabolic Saga in Search of the Truth
2024 Borboleta
2024 Echo
2025 The Last Prayer
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Additional data for Film Titles come from The Open Movie Database (OMDb).
At least one plug-in comes from IMDb.
Data are -- hey, it's a plural -- subject to the limitations of their sources. (For example, TMDB search results currently max out at 20.) I am limiting myself to free data sources for now. (No, a "free trial" is not free.)
While much of the above data are retrieved directly from outside APIs and other such sources, data from American Film Institute (AFI) and British Film Institute (BFI) were manually entered the old fashioned way into a MySQL database. Re BFI I took the following liberties:
Regarding profile removals and data corrections:
Filtering is applied here to film projects flagged as "adult" by TheMovieDB. Pending "popular demand" I am contemplating a login and profile system with preferences (such as whether to allow adult images to appear) and permissions (such as data entry).
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Whether or not he still clings to an award which he won in 1986 as a film critic for his college's newspaper, Jeffrey Hartmann is not responsible for the texts of overviews and biographies supplied by external data sources.