An anguished university student in his early 30's ponders the state of his life in light of his relationships with a politicized classmate, a TV actress selling the image of a femme fatale and his bourgeois sister.

Ana, a young psychology student, is hired as a nanny for two children in Petrópolis, Brazil. Left alone with the children and the groundskeeper, she begins to receive threatening phone calls during the night, entering a spiral of panic with tragic consequences.

Widowed one year ago, Eleonora, a 33-year-old woman from Sao Paulo's upper bourgeoisie, lives alone, unsuited to her husband's absence, an intellectual frustrated and torn between the need for transcendence and a strong sexual compulsion. The life of the couple, although not happy, was intense. However, the presence of her a long-time friend Ana Maria, just arrived from Paris, a middle-class university student, is staying at his house. The two go to the site of Eleonora and she remembers her life with Marcelo and his death by drowning.

Psychiatrist lends her country house to patient, expecting she would repose. But she meets a neurotic former lover, and the psychiatrist gets so involved in the couple's problems that she ends up getting dependent of them.

Young man goes camping with some friends, looking for some peace, but strange and disturbing events happen.

Movie director visits a set on a studio about to be closed. For his next film, he wants his faithful favorite actress, but she is now tempted by a profitable TV deal.

A man explores the process of formation of sexuality and is looking for a woman that does not exist.

A curious story: it rains whenever a couple of lovers meet. Against the weather forecast, it rains all over the city. And as the love grows, the stronger becomes the rain. Found by a television crew, they receive the title of "Rain Lovers", and their dates become public spectacles.

Bressane’s first color film, shot in the home of the artist Elyseu Visconti. Part of it is missing sound and final editing because the director was forced to leave Brazil. Horror and humor to deal with the subject of insanity: “In the end everyone leaves the house as though they were laboratory mice escaping, they invade the city and contaminate the world”. “If we talk about horror, this film deals with national horror, with Mojica Marins as an emblem. There might be a few touches of Corman and English horror, but it is another level of horror. What transformed the film was the location where we were shooting, the house of a 19th century painter, a receptacle of light. When I arrived and saw that house, that light, I said: ‘This is the film. This is the horror’. The meaning of the film, its appeal, derives from this laboratory of light” (J. Bressane). — Torino Film Festival