Maria Miguel Serra

Besieged by writer’s block and the crushing breakup with Tessa, Hardin travels to Portugal in search of a woman he wronged in the past – and to find himself. Hoping to win back Tessa, he realizes he needs to change his ways before he can make the ultimate commitment.

Love, passion, mystery, betrayal makes the days of the Pôr do Sol estate. The Bourbon de Linhaça family owns the Pôr do Sol estate, but not everything is rosy...

In 2017, in Portugal, devastating wildfires destroyed forests and killed children and adults; some died in their villages, others were trapped on a road. Communication failed, and the villages had no shelters. The film’s action does not take place in 2017, but at a later time. It follows a small group of people who lost their dearest ones and are now in the process of learning how to live after everything they have lost.

The young film student Maria do Mar is working on a documentary about the old manor houses along the Douro River. It is the final project in her thesis on “Reality in Cinema”. Maria has an unlimited confidence in what is visible. Her candour and her naivety allow her to see the bright side of life – such as the beauty of the landscape and the authenticity of the place, or what’s left of it. But when Maria enters the final manor house on her list, she soon realises that something is going on in this house that is not as innocent as it first seemed. The manor is truly a house of horrors.

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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.

A group of boys shatters the matriarchal memory of an old bedroom. In the face of impending danger, the older boys vie for leadership. As the evening progresses, they turn to violence. Chico, the young misfit, finds a tragic portent of desire.

Two friends promise that they will never grow up and that if they do, one day, they will end their own lives. Between the day of the promise and the day adulthood arrives, anxieties and fears, hopes and dreams make it difficult to reach the age of thirty. Reaching the milestone, after all, is as good as it is scary. Perhaps running away to Paris is the solution, but, as the conclusion goes, "we are all heroes at midnight, but cowards at nine in the morning." Does growing up mean compromising? Or do we remain just a little lost children playing this game of wanting to appear very adult?