1985 film directed by Valeria Sarmiento

Jan thinks he is Swedish-Danish, but after his mother's death he discovers he was adopted. As his world begins to fall apart, he decides to find his birth parents. The hunt leads him to Portugal - in a taxi - where more surprises await him.

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.

This three part French TV serial for children (alternate versions exist as a feature, Manoel's Destinies, and a 4 part Portuguese TV serial, Adventure in Madeira) is the favourite of many devotees of Raúl Ruiz. This is because it ties the enchantment and mystery of Lewis Carroll, Carlo Collodi and the Brothers Grimm to the filmmaker's experiments with narrative strategies and what he calls the pentaludic model of storytelling (where characters are thrown dice-like into combinations and situations governed by the play of Chance and Destiny).
But this film for children is among his most complex works, hard to grasp in its totality. Often it can seem an arbitrary collection of free-associational images and words, bordering on nonsense. But attentive viewers will have the strong sense that there is method behind this near-madness. Otherwise, it could never produce the intense emotions it so clearly offers. Ruiz's obsessions from film to film bind the fragments together – within a single work and across projects – and the emotion comes from the totally unexpected forking taken within a well-worn territorial map.
Part One presents us with three possible worlds. In each world, seven year-old Manoel has a different response to an entreaty from the outside world. Fittingly, in this film in which nothing coincides, the three parts of the story do not coincide with the three-episode structure (the trinity-form recurs frequently in Ruiz). In this case, past, present and future – the unholy trinity or Time en soi – is the film's very protagonist, variously called 'long ago' (Part One), 'now' (Part Two), and 'future' (Part Three). At the outset, this gives the story an apparent order before digressions take it over.
Part Two (the status of which is at first confusing since it begins after the three mini-narratives of the first Part and before the end of Episode One) is entitled 'The Picnic of Dreams'. Whilst vaguely 'keeping to the storyline', it veers off in many different directions, where the thematic coupling ordinary/special replaces the familiar/unknown dualism of Part One. (Each Part is guided by a thematic 'dominant', a pair of notions that tend to exchange their meanings as it progresses.)
Part Three (beginning in Episode Two), entitled 'The Little Chess-Champion', hands the (until now) off-screen voice-over narration to Manoel himself. He promises to tell his own story, but adds that it's 'a story that I made up in my distant childhood and that happens in the future'. The tone is less Baroque, more Gothic, as Ruiz explores the 'wonders of the night'. The filmmaker's obsession in this section concerns perception and the deciphering of secret signs and codes.

Fed up with the sea, Paul, a Swiss mechanic working in the noisy bowels of a merchant ship, lands in Lisbon.

1981 film by Manoel de Oliveira