Lisbon, Portugal, 2010. Pilar, a pious woman devoted to social causes, maintains a peculiar relationship with her neighbor Aurora, a temperamental old woman obsessed with gambling who lives tormented by a mysterious past.

Cape Verde, 1964. At the feet of a mighty volcano, the traditional Cape Verdean society is undergoing a steady change. The old land-owning aristocracy is disintegrating. A class of "mulattos" begins to emerge, with a trade-based financial power that threatens the landlords. A new identity arises, a mix of old and new, of African and Portuguese culture, sensual and dynamic. The songs of Cesária Évora follow this inevitable transformation. From the novel by Henrique Teixeira de Sousa.

A story about doomed love between two people from different worlds and the impact in their lives.

In a unique approach to what amounts to four pseudo-morality plays, director Monique Rutler has a street entertainer with hand puppets summarize the characters and idea of each story. The first sketch is about a young man who shines shoes for a living, and tries to keep up a relationship with two women while convincing each she is his only true love. The next story is about a man who beats up his wife when he is drunk, and sells furs for a living. One day, as she is riding in the back of his truck with the furs, he hits a bad patch and she and some furs fall out. The question is, will the woman be enterprising and leave the jerk - or not? The third tale concerns a woman looking into how much control a prostitute has over her clients, and to really find out, she becomes a prostitute herself for awhile - leading to some quite unexpected situations. The last segment handles the uglier side of the life styles of the rich and famous.

Set four years after the Portuguese revolution and the simultaneous loss of the Portuguese empire in Africa, the story concerns a director who sells guns to finance his play.

Filmed just before the Carnation Revolution of 1974. Dark portrait of a group of friends who used to be colleagues at the University in 1962. Ten years later, they have lost all their ideals. With Lisbon on the background they discuss politics, love, culture; each of them has reached a deadlock. The camera remains still while it registers the dissolution of their dreams.

The young girl, Antónia Margarida Castelo Branco, is handed over by her mother to Brás Telles de Meneses because of the obscure interests between rural aristocratic families in the North. Brás is a ruined man, a bohemian with a reputation for violence and erratic behaviour. Antonia’s fortune is the first sacrifice made by the young wife. Fascinated by the man who humiliates and ill-treats her, she follows him in a pilgrimage to increasingly barren lands, to increasingly less hospitable houses.

The film presents us with a reflection on the Spanish Civil War in the Portuguese society, At a time when Salazar ruled.

Hipólito is a self-made man, who went up in life in devious ways, and used for profit the social turmoil when Portugal changed from a monarchy into a republic, and then to a military regime. Finally, he is forced into exile. Back in 1935 to family, friends, and lovers, he is in a mix-mesh of lies, and scheming, again.

The Bodiless Woman is an intervention film about the violence perpetuation and, above all, about the victim’s dignity and her deliverance.