Nuno Beato

A cardboard boy makes-believe inside a cardboard box. Dodu, the cardboard boy, is very sensitive and lives in a city wich is really hostile towards little children. So he spends many hours indoors, playing with Carica, his ladybug friend. Whenever Dodu scratches the surface of the cardboard box, he is able to create wonderful worlds inhabited by unusual creatures that help him to deal with his emotions and how to grow.

Arnold, an unemployed middle-aged mouse, confides to his wife Maria that he suspects his entire world is nothing more than a set, and his life a scripted performance. When his best friend Ramiro dies under mysterious circumstances, he traces the conspiracy to a monolithic corporation whose influence reaches every corner of their daily lives.

By mistake, she drinks the paintbrush water and turns into a drawing. From that point on, the world of everyday things and the world of creation dance around a cabinet. Inside it, each moment, each memory and each action become unique. As a book grows and becomes real, we follow the Tocadora in her creative process as the unfolding of an imaginary journey.

A shoemaker wrapped up in memories of his life and the demands of his job, experiences a crucial moment in his existence. We accompany him through an enormous day in his life which will determine his future.

Daydreaming of unlikely relationships, the flower, as delicate as it is revolutionary, represents an act of love in the midst of the suffocation and embrace of a classic Portuguese neighborhood.

Rosa's life, a highly valued professional, is turned upside down when her grandfather Marcelino dies.

In a rocky island exposed to the elements, a lighthouse keeper lives alone with his daughter. From the top of his tower, the father keeps vigil to the horizon line and for the safety of the passing sails. With no other company, the girl develops a unique complicity with the sea, which brings her toys in the shape of debris on the shore. Following the rhythm of the waves, these objects will unveil previous events, memories that the tide cannot erase.

María narrates in first person her mother Adela's journey from Asturias to Havana in 1929. On this trip, she follows her sister Segunda, who had left years earlier and to whom she was very close. Adela, like her sister, grew up cleaning and washing clothes in the prao, a field that was always covered in snow, causing her constant ovarian pain in the cold. Painful and heavy periods are a heavy burden, but thanks to sisterhood and understanding, Adela will gain the confidence to take control of her life at the end of her journey. The story María tells us is a story of migration, one that has always existed and will continue to exist. It is also a cycle—one that repeats itself in many lives—but one that has only one meaning: it is a cycle of departure.