As Bodas de Deus is a comedy that delves into the themes of love, religion, and betrayal. Set in a psychiatric hospital, the story follows a nun who becomes entangled in a web of deceit and madness. With elements of opera and a touch of insanity, the film explores the complex relationships between the characters and the consequences of their actions. As the plot unfolds, the audience is taken on a journey that questions the nature of faith, the power of love, and the consequences of betrayal.

Francisco, behave! I Know it's your birthday, you are thirty now, it's carnival, you've dressed as a cowboy for the school party and you are surrounded by kids you hate. But that's no reason to be so annoying... Francisco, repeat after me: "Up to your 30s you have the face God has given you. After that, you get the face you deserve".

Monteiro moved far away from the visual opulence defined by his earlier films with his inspired adaptation of radical Swiss writer Robert Walser’s anti-fairy tale. Carefully restricting the image track, Monteiro maintains an almost totally black screen in order to focus instead on the voices of Snow White, the Prince, the Queen and the Hunter, engaged in an extended debate about love, free will and the events leading up to the fateful attempt on the maiden’s life. Despite its visual austerity, Snow White is haunted by the arresting images with which it begins – infamous black-and-white photographs of Walser lying dead in the snow after his heart attack outside a Swiss asylum at the age of seventy-eight, a strange realization of the “death of the author” so central to postmodern literary criticism.

The story of a man who sees his life change radically upon confronting his progressive loss of memory. As his neurological condition advances, it affects not only his own life but the lives of all those who surround him.

One bad thing never comes alone, says the people. The village Estrela is threatened by the waters of the new Alqueva dam. It will become an "island". But, as one bad thing never comes alone, the daily lives of the inhabitants of this small mountain village are changed by the death of Adriano. "In order to create, I destroyed myself; I have so much externalized within myself that within me I exist only outwardly. I am the living scene where various actors perform various plays." (from Livro do Desassossego by Fernando Pessoa), as Adriano liked to quote Adriano. He committed suicide on the day of the village feast, hanging himself in the main square. For Adriano, the main square of the village has long been the center of the world. Adriano felt surrounded, depressed, unable to escape his destiny. "No one can stop a man who travels with suicide on his lapel" Adriano repeated to Lisete, always to the point of exhaustion.

Nourished by grief, silence drains the life of a couple who have lost their child. The mother refuses to speak, transforming their home into a place of mourning where memories poison her relationship with her husband.

The film presents us with a reflection on the Spanish Civil War in the Portuguese society, At a time when Salazar ruled.

In a remote island where mourning was settled, a man decreed that there will never be sex or children anymore... The island gets desolate and he decided to send his daughter, Adriana, to the mainland to form a family by natural methods.

The life of a couple flickers between February 14th and April 1st of the same year.