"Tudo em Avignon e eu aqui" questions the oppressive force of the theatrical apparatus and the way it conditions the production of imagination. The actress from Guimarães, Rebeca Cunha, is haunted by an unlikely figure, Chalino Sánchez, the king of Mexican corridos, in a narrative that challenges both the power of promise and that of a future we insist on staging—even if our imagination has become little more than a movement backwards in time.

Before us, there are ghosts. And although beautiful, crystalline, and translucent, it is not through them that we manage to see our future. Opposing the figure of a singer who was killed for refusing to leave the stage, there emerges that of an actress who has never been able to imagine her life beyond it. All in play, even if inside the bruises are very real.