A Janela (Maryalva Mix)

Santo Antoninho Square. Good Evening. Bica Neighborhood.

“António!” shouts a feminine shadow. Knife thrusts.

The victim runs along the funicular tracks until he reaches, panting, the Ruins of his (?) own Memory.

Throughout the first part of the film six female apparitions – performed by the “same” actress – emerge at a window with different views on the life and the personality of one António, a bon vivant from the Bica neighborhood, lover, husband (?), Fado (Fate) singer, and seller of cheap combs and other extraordinary artifacts (among which there is a fabulous and legendary elixir!).

Confronted with these visions and with the contradictory attributes of António, (of) who(m one) does not know whether it is really the character himself, there are two possibilities: this António is several or one person.

The last feminine apparition, Marya de Fátyma, a popular Fado singer from the Bica neighborhood, an older and more experienced woman, introduces herself as António’s intimate confidante, and states her piece. Marya de Fátyma comments upon the rumors about António’s supposed intention to marry his supposed six lovers, and introduces the suspicion that António may have been the victim of a set up planned to have him treacherously stabbed to death.

Ego, unable to decide which is the most true/plausible of these accounts, is then confronted by a final apparition – that of António as described by Marya de Fátyma. António casts new light on his lovers, on the supposed and talked-of (called-off) wedding and on the knife thrusts of which he has apparently been the victim.

Ego-António (António or Ego?) becomes more and more confused by destiny/fate: Who is the real António? How many Antónios are there after all? And how many lovers? Did they get married? Did they kill him? Is he in Purgatory? Who is the mysterious eye that is the protagonist of the film? António? Which Antónyo? Me?? Phor phuck’s sayk!