A hotel by the northern shore of Portugal welcomes its guests over the weekend. A man is torn between being present for his wife and the space that his mother takes up between the two of them. A mother encourages her daughter’s marriage to enable her own love affair with her son-in-law. Another mother lives through her daughter, preventing her from making her own decisions. Three families at the end of their cycles of acceptance.

On a train to Algarve, a young man recounts to a fellow passenger his past relationship with an eccentric young woman.

The story of Father Antonio Vieira, a 17th-century Portuguese priest who lived in Brazil and worked for better treatment of the Indians and to abolish slavery.

The story of Luizinha, a girl born into a very poor family who is given by her father to António, the richest man in town, to raise her. But the death of his wife leads António to marry Berta for the second time, and it soon becomes clear that the large family home is too small to accommodate both Luizinha and her stepmother. At the height of the conflict, António defends his daughter and Berta files for a contentious divorce. Shortly afterwards, she is found dead and António is accused of murder. But the truth that the court seeks to uncover may not be the most obvious one.

A photographer, Isaac is asked by hotel owners to take portraits of their recently deceased daughter Angélica. When he looks at her through the lens of his camera, she appears to come back to life just for him. He instantly falls in love with her. From that moment, he will be haunted by Angélica day and night.

In a mental institution the patients see themselves as people like Jesus, Lazarus, Martha, Mary, Adam, Eve, Sonia, Raskolnikov, Aliosha e Ivan Karamasov, a Philosopher, a Profet, Santa Teresa d'Avila, reciting the Divine Comedy.

Despite his age and general weariness, Gebo keeps on working as an accountant to provide for his family. He lives with his wife, Doroteia, and his daughter-in-law, Sofia, but it is the absence of João, son and husband, that worries them.Gebo seems to be hiding something, especially to Doroteia, who is anxiously waiting to see her son again. Sofia is also waiting for her husband to come home, and yet she fears him. All of a sudden, João arrives and everything changes.

In 1996, Marcello Mastroianni talks about life as an actor. It's an anecdotal and philosophical memoir, moving from topic to topic, fully conscious of a man "of a certain age" looking back. He tells stories about Fellini and De Sica's direction, of using irony in performances, of constantly working (an actor tries to find himself in characters). He's diffident about prizes, celebrates Rome and Paris, salutes Naples and its people. He answers the question, why make bad films; recalls his father and grandfather, carpenters, his mother, deaf in her old age, and his brother, a film editor; he's modest about his looks. In repose, time's swift passage holds Mastroianni inward gaze.

A reorganization within a crime syndicate.

In 1974, after years of civil war, the Portuguese and their descendants fled the colony of Angola where groups working for independence gradually claim their territory back. A tribal girl discovers love and death when her path crosses that of a young Portuguese soldier. Meanwhile, another group of Portuguese soldiers is barracked inside an infinite wall from which they will have to escape once the past comes out of the grave to claim its long-awaited justice.