Brogan thinks Foreman McCardle has gone clean off his rocker when he has him, Brogan, carted away to the clinic although he’s perfectly well. When Nurse Gilfillan starts to operate - on Brogan’s trailing necktie, baggy-sleeved sweater, cuffed pants and worn-out shoes - horrid tales of workers who had worn similar clothing and been reduced to near-hamburger make everything quite clear.

This is the look that the film about Eduardo Gageiro takes. A film that departs from the stories of two images and that moves on crossing them with the ones that come out of the construction of his latest book. A film that shows how the deep Portuguese look of this photographer has seen the transformations of his country and of the world in the last 60 years. A look that has imagined what the photographer has seen and shot: the kiss of Maria to Salazar’s dead body in 1970, the kidnapping of the Israeli during the 1972 Olympic Games, the turning-point in the 74 revolution and the seductive revelations of the portraits from 1995.