葡萄牙古城基马拉斯被选为2012欧洲文化之都，三导带同他们的3D摄影机，趁机炮制一回回过去与未来的影像对话实验。彼得格连纳韦大玩分屏、声画过场、浮动文字、视觉特效；佩拉则搬出柏拉图洞穴比喻，以逆转的视线建议观众思考真实和幻象的关系；高达更一于「话之你」，让3D摄影机对镜自拍，编就另类自恋诗篇，顺便向电影语言开一次严肃的玩笑。不用怀疑什么叫极端，因为激进的本义就藏在这铁三角里。改变不了他们，就让他们改变你和你的固有世界！

In 1992 Oliveira made O Dia do Desespero, which deals with the last days and suicide of Romantic novelist Camilo Castelo Branco and is based largely on the writer's letters. Most of it was filmed in the house where Castelo Branco in fact committed suicide. The film opens, midway through the credits, with a 50-second static shot of a pen-and-ink portrait of the writer. Other portraits, always shot with a static camera, punctuate the film's narrative, lending it a documentary tone from the outset.
The spectator might expect, at this point, that the “story” will now begin. However, the man seated at the desk stands up, faces the camera, and introduces himself as the actor Mário Barroso, who will be playing the role of Camilo Castelo Branco (and who played Castelo Branco in the earlier Francisca), and offers information about the writer. A bit later in the film, Ana Madruga, the actress who plays Castelo Branco's companion Ana Plácido, does the same thing, at the same time briefly serving as a “guide” to the Castelo Branco museum where the film was shot. Despite the existence of these ostensibly “documentary” elements – the house, the portraits, the actors presenting themselves as such – O Dia de Desespero, Oliveira insists, is a fiction film, but it is one that refuses to deceive the spectator (in Baecque and Parsi, 56) by pretending to be what it is not. In O Dia de Desespero and other films, Manoel de Oliveira questions the ontological status of such terms as “fiction” and “documentary” and challenges, through the pursuit of his own cinematic vision, some of the filmic and narrative conventions that have come to dominate mainstream commercial cinema. His films also challenge the spectator to think about, rather than passively accept, that which is shown on the screen.

Based on the work by Fernando Pessoa - a "message" about the destinies of Portugal - not just in isolation but looking at them as precursors and announcers of the fate of the entire planet.

Idling afternoons, drugs, heartbreaks, psychedelic moods immersed in music. An adrenaline rush. Lisbon as the backdrop for a drifting youth.

Ricardo Monteiro is a successful television producer specialising in reality shows. He is 45 years old and he has just received an award for the most popular television show of the year, when he receives an ultimatum from his 18-year-old daughter Leonor. If he does not come home that same evening to celebrate her birthday he will never see her again. Ricardo is distracted by business or other commitments and he is too late for the last flight home. When he returns next day the apartment is empty and Leonor is gone. At first Ricardo thinks that it is only a game, but there are no phone calls or messages and after a while he gets worried and starts looking for her. He discovers that she has quit school without telling him and that she has lost all contact with her old friends. She has become a complete stranger.