Antonio runs away from home and tries to spend the night at his ex-girlfriend's apartment. There he finds a brazilian girl, an unexpected guest. Johnny is struggling to stage his first theater play in Lisbon. His friendship with the young light technician will make him face his real problems. Débora is passing by, finally returning home. When she goes to the theater, she falls asleep, and is awaken by the protagonist. Three dimensions of the same story.
Pinky is on the run. At night the empty streets smell of the apocalypse and the city seems to be on fire. Narcotics swirl through the veins and the air. Having freed himself from the clutches of a sect led by a certain “padre” and determined to take his fate into his own hands, he is now holed up in an illegal T-shirt factory, surrounded by paints, slogans and heat presses. Pinky is looking for the light at the end of the tunnel, but ghosts are breathing down his neck. He is running for his life, and Colombia is on fire. But Colombia is alive.
The end of that land. The end of that time.
In the year 74 BC, Titus Lucretius Carus, a young man with bold ideas, tries to convince his friend Memio that moving to the city of Rome to study is a total waste of time. Years later, Lucretius returns from the capital. Trying to find a balance between his explanations of the natural world and his emotional experience of it, Lucretius lives a deep and troubled passion with his foreign wife Isa.
This allegorical docufiction provides the viewer with a lightly meditative and at the same time modern impression of the Christian holiday while paying witness to the transformation of the sacral space and the holiday's religious message. The film's anonymous protagonists from opposite sides of the world discuss the paths of their faith in this visually stylized and stylistically edited film.
A silent, black-and-white train journey through Eastern European winter landscapes takes a man to a Croatian village. An arrival in the cinematic tradition of 1920s avantgarde, with the railway and industrial modernity as a favourite graphical motif, which takes him past a fish market and a strange procession, and finally home to a small family, where the grandparents drink tea, smoke cigarettes and chat cheerfully. The image of a young woman burns itself onto the celluloid - and into the filmmaker's consciousness.
