Rita Lopes Alves

Set during the Estado Novo dictatorship, in the night of April 24, Pedro hears that the political police, PIDE, assaulted his house. Fearing of what his fate may be, Pedro runs, looking for a place to hide.

Ana lives in a little village by the sea, with her husband and daughter. He decides to leave for a few days. That seems to be the ideal solution, because Ana needs to finish a work she has been doing for a long time. But her concentration seems threatened when she starts doing her daily walks by the village and the beach: she saves a stranger from death in the sea, meets young Alexandre and Emilia, and her friend Vera turns up in her house. And then, everything changes…

Miguel (Luis Miguel Cintra) is lucky that his income will only level off if he neglects his business as a financier, and his wife and family will be well supported. Why? Because he has begun hearing noises that no one else hears, noises that bother him a great deal, and that make it impossible for him to bear human society. His wife (Jessica Weiss) is thoroughly put out by this radically changed behavior in her formerly good husband, but though she considers leaving him, she stays by his side. Deep in the mountains, Cecelia (Rita Dias), a devout, pure young cowherd, has been brutally raped by an old man. Her boyfriend (Pedro Hestnes) has killed the rapist, and fled the area. As a result of the rape, Cecelia is pregnant. One day, while driving in the mountains, Miguel gives Cecelia's boyfriend a ride. The two of them chance upon her sitting amid the rocks with her infant baby.

Lisbon, on a winter day in 1994, between six and fourteen o'clock. A forty-year-old woman despairs in the last eight hours preceding the birth of her first child.

A boy in Lisbon, in this Lisbon in permanent renovation.

A plot that surrounds police officers, politicians and consultants who crudely demonstrate the lines apparently hidden of the political system and public institutions.

A walk for half a century, yes, a letter perhaps. Travels in my life, I could call it, which I like Garrett so much. A traveling as he would like, a loose story, memories, projects, meetings. Also because, since 1995, I have done several portraits of artists (Palolo, Bravo, Lapa, Skapinakis, Bartolomeu, Angelo, Sena, Ana Vieira and I prepare Sofia Areal and Fernando Lemos), I started to think that this is my life, these meetings , see, hear, cut, show, tease. I want, with this film continue to show what I see. [Jorge Silva Melo]

In an old house, around a table, under a lamp, four men play a game of cards. This house is a haven where all failures are accepted, where all are allowed. Failure is the rule, not the exception. Money has disappeared, as has any possibility of personal success.

Over the course of one night, two middle-aged friends—actors in a struggling theater company—wander the streets of Lisbon’s less touristy neighborhoods, which seem to never sleep, and talk about all and nothing, about life, work, commitment, the stage, illness, death, family. Hermínio and Barata are like brothers, “children” of Mário Plácido, the founder and director of the troupe who died a few weeks ago, but they have different personalities and do not share the same vision for the future of the company. Barata wants to save it and continue to stage plays, while Hermínio has doubts about whether it should continue. The rift could shake their decades-long friendship.

Two lonely people, Mário and Joana, both deceased in childhood, lost the ability to sleep. When fate brings them together, Mário manages to sleep again and leave their loneliness behind. Definitely?