Pesquisa avançada

When three estranged sisters, Gloria, Ana and Lidia, meet up again on the death of their mother, Adela, they find themselves obeying her somewhat eccentric last wishes. Though their mother has spent the last 30 years without uttering a single word, she has left very clear written instructions of what she wants done after her death. Her ashes are to be divided in three, and delivered to three different people: their mother's best friend, Rafaela; Gloria's childhood companion, Santos, and finally the three girls' fugitive father, Joao. To do so, the three women must leave the urban cocoon of Madrid and head for their childhood home in the remote hinterland of Galicia. Gloria, single and 47, whose only interest is dancing boleros, Ana, a sophisticated, high-class prostitute, and Lidia, pregnant for the first time at 34 by a married man, make difficult travelling companions, accompanied as they are by three urns containing Adela's remains. As they move nearer their own past, the journey becomes the key which opens family secrets, bringing emotional discovery and reconciliation.

Two friends live without knowing a most awkward situation: each one is the lover of the other's wife. Jealous, they hire the same private eye to track their women, who, of course, gets very embarassed by the situation, especially when the two couples rent rooms at the same hotel.

The ill-conceived loves of Rosa, a modest seamstress, and Fernando a doctor, leaving in the shadow the fateful passion of António (a liberal) for the young woman.

Dawn is breaking into day. Fair day. As in every year. But this is a year of mourning. "It doesn't look right!" Vera says to her sister. And her mother-in-law looks at her and remembers the dead son. Remembrance is a silence between the two of them. Children's voices come from outside. Lucia wants to go to the fair with her uncle and cousin. "You promised!" claims the daughter. Vera consents in letting her go. Lucia waves her hand as the tractor drives away. Chance, once again. An accident. Death, always so close, so alive.

Mrs. Julia doesn't want to walk. The house where she was born is a family labyrinth where she lets herself being pushed in a wheelchair. She has got old and most of all, she's a widow. Without a man to embrace her, she is afraid to fall. She lives surrounded by women she despises and by the precious memories of the absent men.

The amorous sacrifices of the daughter of Tomé da Póvoa, Berta, with the gentleman Jorge and, simultaneously, the warm connection of the other son of D. Luís, Maurício, with the devoted cousin Gabriela.

Mariana and Joana are drawing sheep in elementary school; the teacher chooses Mariana's as the best, and pins it to the wall; then, the pleading stare of Joana leads her to make yet another choice, and pins Joana's sheep to the wall, too. Mariana and Joana seem to emulate and spy on each other all the time, and Joana happens to see how, after class, Mariana rips Joana's drawing from the wall exhibit, but in so doing, she drops an ink bottle on the floor. Joana does not say a word, but after Mariana leaves, she takes her rival's drawing off the wall, too. Next, the teacher demands that the culprit for the ink bottle to accuse herself. Mariana doesn't - and Joana comes forward, does taking the punishment she didn't deserve. Or did she? In a child-like ambiance, the very adult themes of envy, spying and fault.

All ends before it starts. At 15, the Portuguese athletes of synchronized swimming get through the end of their careers. In a country where football is king, this kind of sport can't be more than a peripheral subject. A small satellite stuck within Lisbon's suburbs With no future, no visibility, no sponsoring.What moves this girls and what makes them carry on ?In Portugal, a sport like this means trying to live under water, floating and breathing. But isn't it what it means to live in this country? To live a life upside down, trying not to breath ?