Joaquim Rosa

When the Portuguese police began to investigate, in 1967, an illegal prostitution network, they ended up stumbling upon a huge secret that could shake the foundations of the republican regime: a select group of prostitutes who organized parties with teenage girls to secretly satisfy the sexual desires of bankers, politicians, ministers, aristocrats and powerful businessmen: the Ballet Rose Case.

In an isolated village of the Alentejo region, a conflict arises. José Vitorino, one of the landowners of the region, rich in prehistoric monuments, wants to build a luxurious solarium in lands filled with ancient rocks, places of devotion and sacred rituals. Indifferent to the people’s protest, who believe in the magical powers of the stones and that the region’s drought is due to the rocks’ destruction, José Vitorino hires an architect to plan his new house. On christmas eve, in the middle of the winter solstice, a strange ceremony around a dolmen, once an altar for bloody sacrifices in more remote times, releases a harmful spell. A race against time to reverse the faulty charm begins.

Manuel and Pedro have different approaches to love. Manuel suffers a disgust that makes him sullen, and enters the priesthood. Pedro keeps on in his carefree ways, and commits a robbery. Manuel knows the robber is Pedro, but he learned it in Catholic confession. To keep his vows as a priest, he is prepared to be arrested.

End of the 20th century. A group of scientists executes a project aiming to prevent a nuclear war with the planet Khalom. From their experimental project, involving manipulating events in the past, two mysterious human creatures travel between the present and the 19th century, and back - getting in love with four different persons.

The protagonists of this classic are Anabela, in the role of “Eliza Doolitle”, and Carlos Quintas, who plays the demanding professor “Henry Higgins”, at the head of a luxury cast of more than 70 actors, singers, dancers and musicians.

Estefânia is an old, rich, strict catholic woman, and when she sets her eyes on a couple of servants who have no means to bring up properly their youngest son, António, she decides to move her influences in order to make a priest out of him. The parents accept it, the local priest and even the Seminar's rector accept it, and António accepts it - if not for piety, for obeyance to his parents. Once time goes by, and António is out of rural misery and into the prison-like system of a seminar, doubts and anguishes mount within him.