Based on a the short story "Low Flying Aircraft" by J.G. Ballard and set in a near future where humans are dying breed. Judite and André flee to a semi-abandoned apartment complex to protect their mutant child from certain death.

Dina (Maria Santiago) is a teenager brought up by her grandmother, employed as a housekeeper for a fairly well-off family. Since Dina only has her grandmother, she spends her time fantasizing about her life and reading comic-book love stories -- activities that do nothing to improve her dim perspective of reality. Due to these handicaps and her own inexperience, she gets involved with Django (Luis Lucas), a shady character who decides to use her as bait to attract men and then rob them. One day when both are in a taxi with robbery in mind, the driver gets suspicious so Django shoots him, and so does Dina. She escapes and runs away -- though it seems like she has learned too little too late. This story unfolds against a time of upheaval in Portugal (mid-1970s) when the military government is formulating a constitution and social changes are happening everywhere.

大剑客达太安（菲利浦·诺瓦雷 Philippe Noiret 饰）和女儿爱洛丝（苏菲·玛索 Sophie Marceau 饰）所在的修道院闯入了几名逃跑的奴隶，他们遭到了恶公爵（克劳德·里奇 Claude Rich 饰）的追捕。善良的修道院长收留了这些奴隶们，之后却因为这一善举而丢掉了性命。
爱洛丝将这桩悲剧看在眼底，她觉得这一切都是为了推翻法王路易十四（Stéphane Legros 饰）而谋划的阴谋。
为了替院长报仇，爱洛丝前往巴黎寻找在那里的父亲，可是达太安为了自保不愿意插手此事。一怒之下，爱洛丝只身一人潜入卢浮宫，决定凭借一己之力，破解这个编制缜密的阴谋。

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.

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.

深夜，年轻的 Samuel 在那个荒凉的码头想做什么，没有人能确定...
当退休的水手 Eloi 在一旁静静观察这个凝视着塔霍河水面的小伙，无法不猜疑他有结束生命的念头.
简短几句交谈后，Samuel 对 Eloi 提出了象征意味的邀请：和他一起纵身“最后一跳” ，Eloi 拦住了他，表示希望在此之前先带他去酒吧喝几杯.
在一家夜总会里他们遇见了一位哑女 Esperança 和另两位舞女 Rosa Bianca 和 Ivone.
随着他们之间的相处，年轻的 Samuel 慢慢体会到了爱...