Gonçalo Pina

In the mid-1980s, during a summer day, Rui Carlos and his friends Maranau and Tomané enjoy their free time in the neighborhood, between football matches and playful games. Rui Carlos repairs his worn-out shoes and heads out to borrow a valuable football from their neighbor, Dona Olinda, who daily entrusts it to him. As the teams are chosen and the game begins, typical neighborhood interruptions ensue: a visit from Mascote the dog, a break for lunch, and spontaneous games. But when the ball gets punctured, Rui Carlos is left to face responsibility and the realities of growing up.

Early Spring. A sonata, a train, a letter. Between his work as a flute teacher and the rituals of mourning the early death of his wife, Samuel faces a dilemma after a visit from his brother.

Thousands of workers take the ferry across Lisbon’s Tagus River every day. They’re commuters just like those you see everywhere in buses, trains and subways. In the ceaseless flow of humanity they disappear anonymously into the crowd. This film is Gonçalo Pina’s cinematic tribute to these “invisibles.”

Under the harsh rays of the sun, Carlos is laying down. There is sunburn on his back. The wind is still. The air is warm. There’s a dryness in the air. He can barely breathe, until he sees Mateus.

On a sunny afternoon in Lisbon, Manel leaves home to look for work. He comes across an old church and remembers his late friend Pedro. The history of this space intertwines with Manel's emotional journey.

Child solidarity is stronger than death.

In 1872, the Emperor of Brazil, Pedro II, travels to Porto and stays at the Grand Hotel du Louvre, property of Maria Henriqueta de Mello Lemos e Alvelos. Today, the attempt to make a film about this episode becomes an invocation. Maria Henriqueta is with us. Memories, sounds and sensations take over the screen.