Cecília is sixteen years old. She has a prosthesis in her left hand and a new love, but she does not have her mother's attention.

Suellen is a toll booth attendant who starts using her job to help a gang of thieves steal watches from people driving to the coast. But only for a noble cause: to send her son to an expensive gay conversion workshop.

Bruno Aleixo was invited to write a biopic about his own life. Lacking ideas, he decided to ask his closest friends for inspiration. Reunited in a cafe, each of his friends suggests a different idea, more or less biographical.

Mário, an 8-year-old boy abducted in central Portugal during the spring of 1999, resurfaces 12 years later in a Parisian jail. This period of disappearance hides a terrible secret and all the complexities of this mysterious character.

A team-building event goes wrong and brings the owner of an architect studio face-to-face with the lower-class neighborhood that his company is gentrifying.

A princess and a hunter. An iconographic journey immersed in Lusitanian fantasy.

A few words on-screen introduce an enigmatic character: Hector is recently separated, grieving, angry – and wearing medieval armour. We then see a succession of impressionistic shots, labelled only with their location, map coordinates and, sometimes, an activity. Filmed near Rimouski, this short film by Sandro Aguilar invites us to enter the mind of a man who has cut off ties with the world. An anxious soundtrack overflowing with intricate details forces us to reconsider each shot, each moment. Are we taking Hector’s perspective? Are we watching an endless hallucination? Working with minimal resources, the filmmaker creates a world, a fascinating elliptical narrative that captures a certain sensory and emotional discombobulation that Hector is far from alone in feeling. (Bruno Dequen)

The Empire Hotel is a 30-year-old landmark in Macau's old quarter, inhabited by characters with their own stories and struggles. It is also Maria's home. One day, the burden of keeping lives together and the hotel standing falls on her shoulders. A young man who left Macau two decades ago returns, intent on revenge and reclaiming his mother's fortune – half the hotel. Inside the casino, Maria sings Fado and exotic dancers perform. It is against this illusory backdrop that the man lays eyes on Maria for the first time; they’re both mesmerized. The film cuts back and forth between film noir-style scenes of Macau’s past and present.

Miguel Gomes (Tabu) muses with characteristic humour and melancholia upon small-scale, perversely prescient moments of human fallibility in this witty and affecting found-footage film.

The only one of these four shorts whose the title doesn’t have a direct relation with its theme (Do you remember "Kalkitos", the trademark of action transfers, back in the 80s? Well, there's none of them here) presents, with an artificial mise en scene, as if it were a deformed imitation of a silent film, a guy in his twenties who feels like he’s still a child, and wants to play with others of his own (supposed) age

Don Quixote, Luís de Camões, Camilo Castelo Branco and Teixeira de Pascoaes meet in an eternal garden in the middle of a modern city and talk about life.

Scheherazade narrates three more tales, supposedly selected from the 470th, 484th and 497th nights of her ordeal: “It hath reached me, O auspicious King, that a Judge will cry instead of giving out her sentence. A runaway murderer will wander through the land for over forty days and will teletransport himself to escape the Guard while dreaming of prostitutes and partridges. A wounded cow will reminisce about a thousand-year-old olive tree while saying what she must say, which will sound none less than sad!

Every night, in danger of being beheaded, Scheherazade tells King Shahryar unfinished tales to continue them the following night, hence defying his promise of murdering his new wives after their wedding night. Scheherazade tells King Shahryar her stories but these are not those in the book. As in the book, these stories are tragic and comical, with rich and poor, powerless and powerful people, filled with surprising and extraordinary events.

In which Scheherazade doubts that she will still be able to tell stories to please the King, given that what she has to tell weighs three thousand tonnes. She therefore escapes from the palace and travels the Kingdom in search of pleasure and enchantment. Her father, the Grand-Vizier, arranges to meet her at the Ferris wheel, and Scheherazade resumes her narration: “Auspicious King, in old shanty towns of Lisbon there was a community of bewitched men who, in all rigour and passion, dedicated themselves to teaching birds to sing…”. And seeing the morning break, Scheherazade fell silent.