“Konstantin Gavrilovich shot himself.” Thus ends The Seagull by Anton Chekhov. Then the curtain fell, and the audience in the theatre enthusiastically applauded the performance of those young actors and actresses, set and costume designers, technicians, and producers. They were finishing their theatre course. Like Konstantin Gavrilovich, they embraced expectations and anxieties about their future as artists. Would they achieve the visibility that would place them at center stage, in pursuit of new forms, or, on the contrary, would they find themselves on the brink of the suicide of their professional project?

Twenty years after their class went their separate ways, Miguel Fragata sets out in search of the fate of his former colleagues, retrieving fragments of the characters and attempting to imagine a continuation of Act IV of Chekhov’s play.