Paula Mora

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.

A theatre having national as part of its name, at the top of a square, reflecting a country’s history. But which one? This is a voyage through the various narratives about D. Maria II National Theatre, forged through the intentions of the several regimes that intended to convey their own ideologies within the theatre’s mission. This is also the story of those who fought against it, opposed the institution and became part of it. How can one become heir of these stories, even if never having set foot inside.

Every year, four ex-soldiers who call themselves "Os Imortais" ("The Immortals"), get together with four women to celebrate their war deeds and remember the old days, back in the war. On the summer of 1985, tired of their monotonous lives, they decide to rob a bank. Joaquim Malarranha, a chief inspector from the local police force who is about to retire, crosses their path and chooses to spend his last days of duty trying to solve the robbery. But as he carries on with his investigation, he discovers more than he could have ever imagined...

Rui, A teenage boy works in his father shop and has an old brother that is a policeman. His father is about to close the shop, because of money issues, and Rui needs to get money for him and also to help his father. By the hand of a friend he enters in the criminal world to make money.

Since childhood, Isabel remembers her mother's recurring request: to be cremated. And now that the day has come, with her husband Daniel at her side, it is the mother's voice that she hears, which surprises her because the mother is there, in the urn, about to be cremated, as she always wanted. And since then, she has been making herself heard, accompanied by a letter left in her will, with precise instructions, which, being drastic, may end Isabel's marriage.

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