Directing
Erros Meus, Má Fortuna, Amor Ardente brings us a story from a small, rural village in the interior of Portugal where, by reason of a funeral, people from all parts of the region are arriving. Maria is a young woman from that village, unsatisfied with her marriage with João, who has never given her a child: her biggest desire. By cause of the funeral, Carlos arrives, and his arrival and Maria's emancipated behavior generate distrust from the other villagers. Maria, a serious, beautiful and virtuous woman, loved by every man in the village and hated by all the women, awakes in João the weakness of jealousy, and in Carlos the weakness of an old love.
A kaleidoscope of several intertwined stories about people struggling to resist their vulnerabilities, in search of love, dignity, forgiveness and the great beauty of life in chaotic New York City.
We revisit the life of Eunice Muñoz through the private memories of her house. We watch the intimate side of the actress, who does not play any part here but that of being who she is next to whom she loves. We watch her natural complicity with Lídia, how they bodies are 62 years apart but their spirits not even one. They open us the door to their intimacy and household rituals. Certain that theatre is more real than life, it was up to the two actresses to live a purer form of life, one that would overcome every likelihood of theatre, turning cinema into the most beautiful con in the world.
Lázaro Lafourcade, an old capitalist, is found dead in his mansion after a dinner with his peculiar family. An inspector is called in to investigate the crime and find the culprit, delving into the glamorous and sordid underworld of the Lafourcades, kicking off a good old-fashioned crime story where everyone is a suspect. A whodunnit that takes us back to the 1950s and results in an "eat the rich" narrative, while the investigation takes place at the Lafourcades' home.
