Último a Sair

A story developed in two different narratives which are interlinked. On the first one, the two friends Bruno Nogueira and Gonçalo Waddington (playing themselves) set out on a caravan trip through Portugal with the desire to escape from their daily lives and find a solution for their personal struggles. On the second one, there's the fictionalized making-off of the miniseries itself.

Sara is a portuguese actress who only works in film and is known for her ability to cry on cue. But one day her eyes dry up just like her interest in cinema. The solution? Soap operas.

Every week, five friends get together for dinner. But what these five friends don't know is that they are fictional figures. What they say and do is not up to them. With each episode, we witness a different version of that same dinner.

Writer Miguel Esteves Cardoso and comedian Bruno Nogueira discuss with themselves and guests different topics of the Portuguese society.

In dystopic times, after a law that prohibits laughter was approved, people live in an environment of fear and mistrust. The freedom to express any kind of joy in public no longer exists. As part of the resistance, a group of actors and scriptwriters decide to create a clandestine movement allowing people to laugh in secret. Everything else is noise.

A satire on anti-communist paranoia in the days of fascist dictatorship in Portugal. The series follows the adventures of the "Lusitanian superhero", the ultra-patriotic Captain Falcão, a man who follows the direct orders of António de Oliveira Salazar in the fight against the "red menace".

Alberto is planning the ultimate romantic escape, but before he can catch the airplane he will endure the creepiest day of his life.

The short life of the Uruguayan poet Delmira Agustini is colourfully portrayed, not as a conventional biopic, but as a visual poem which evokes the turbulent life and complex personality of the literary heroine as she develops her genius for writing.

Tiago Guedes returns to Dennis Kelly, the British playwright with whom he has already enjoyed success in his dizzying descent into the depths of human complexity. After Órfãos, the director and stage director now tackles The Ritual Slaughter of Gorge Mastromas, a 2013 text about the banality of evil in the person of the man that Kelly's play scrutinizes in retrospect: "Existence is not what you thought it was until now. It is not honest, it is not kind, it is not fair. Most of the world has no idea about this; they believe in God, or Daddy, or Marx, or the invisible hand of the market, or honesty, or kindness. They go through life with their eyes closed, getting beaten up and screwed over. He's like that. You're like that. But a tiny part of us, let's call ourselves the resistance, knows the true nature of life. The world is ours for the taking. We are powerful and rich and have everything, because we will do whatever it takes.

A ruined businessman who lives as a homeless, struggles to recover the love of his daughter, whom he abandoned as a child and who is now almost a woman. He along with a peculiar group of vagabonds will become her guardian angels.

Bruno Nogueira Talkshow