Roberto is one of those men to whom simulation has become the greatest art. He is an unmoved, inscrutable, mysterious man. But the truth is that Robert feels an intimate, deep tedium. The boredom of those who have already exhausted all the pleasures of life. The only thing still surprising him is the fact that nothing surprises him anymore. One evening he has an overwhelming encounter with a woman. For his own bewilderment, he discovers the sublime horrors in which the woman has sank.

After completing his military service in the Angolan War of Independence, Adelino goes back to the Portuguese fishing village he calls home, only to find that the woman he loves has married his brother. Overcome by bitterness, he sets off to find work in the countryside where he meets Albertina, a free-spirited young woman who challenges him to change his life.

From our window one can see a set of the film The Green Years, directed by Paulo Rocha in 1963. This was our starting point: guided by Rocha's gaze, we look back at the places of that film. The successive geological, urbanistic and social strata of Lisbon, besieged by the pandemic that interrupted the shooting, are drawn out in front of our camera, like a contemporary jazz impro from a score written in 1963.

After a suicidal teenage girl gives birth, she misguidedly entrusts her baby’s safety to the troubled, deadbeat father, whose violent actions take the viewer on a tour of the foreboding, crumbling shantytown in which they live.

Having lost her place among the social elite, a widow remarries and starts a family.