World War II is around the corner, but the only thing Sally Bauer can think of is the ocean. Her dream is to swim across the English Channel. Her father has tried to exorcise her obsession with swimming since she was a toddler, without success. An unwanted pregnancy forces her to abandon her dream – and herself. The child’s father does not want to be involved, so as a woman in the ‘30s in Sweden, Sally has no choice but to do what is expected of her: to be a mother. There is no place left for her dreams and Sally is pulled into bottomless darkness, until her sister Carla saves her. With renewed purpose, together the sisters begin to dismantle the conventions they are constantly facing. In late August 1939, Sally stands on the shore at Dover and takes her first step into the English Channel. She swims across the open and icy sea for 15 hours, waving to the Navy who are readying for war. A couple of days after Sally swims ashore at Calais, Poland is invaded.

　　米歇爾?法爾蓋特（休?格蘭特 飾）經(jīng)營(yíng)一間拍賣(mài)行，他是個(gè)溫和的英國(guó)人，拍賣(mài)行的生意一向很好。他感覺(jué)成家的時(shí)候到了，便向他最?lèi)?ài)的女友吉娜（詹姆斯?凱恩 飾）結(jié)婚。可是吉娜對(duì)結(jié)婚一詞十分抗拒，她不愿意跟米歇爾結(jié)婚。這樣使米歇爾疑惑極了，他認(rèn)為女友是十分愛(ài)自己的，為何不能從此一同生活呢？　　直到后來(lái)，他才明白了吉娜的苦心。原來(lái)吉娜的父親是一名黑幫老大，深?lèi)?ài)著米歇爾的吉娜不愿自己的丈夫被卷進(jìn)復(fù)雜的黑幫環(huán)境中。就算米歇爾向吉娜保證自己不會(huì)牽涉進(jìn)去那些麻煩當(dāng)中。　　可是事情并不如人意，他還是因?yàn)檫@個(gè)黑幫岳父惹來(lái)了很多麻煩，甚至被警察調(diào)查。從此，米歇爾也莫名其妙的成為了黑道中人……

 從未失手的珠寶大盜，本想干完最后一票便金盆洗手，卻與中年失意的精英高管意外結(jié)盟，聯(lián)手布下棋局。另一邊，深陷職場(chǎng)困局的王牌警探，正憑借蛛絲馬跡一步步將矛頭對(duì)準(zhǔn)他們，更有黑幫劫匪暗中蟄伏，伺機(jī)攪局。螳螂捕蟬、黃雀在后，當(dāng)規(guī)則與道德的邊界被打破，這場(chǎng)顛覆命運(yùn)的驚天罪案，究竟誰(shuí)能安全脫身？

　　Beginning with a pivotal encounter between two men in Goiás in the 1980s, director Daniel Nolasco weaves a narrative that spans across time and, perhaps, multiple dimensions, driven by the intense forces of desire and love, as well as the suffocating weight of repression and silence. Nolasco, who was featured in Olhar’s Focus section during the pandemic, continues his distinctive and undefinable journey with a radically queer cinema that refuses to look away from the often paradoxical physical expressions of both desire and violence.