Aurora seems to inhabit a parallel universe, a stage where she reinvents everyday life through the eyes of a porcelain doll, as a witness to her internal monologues and a witness to her experiences. As the story unfolds, the factual becomes intertwined with the psychological - emerging the expression of abandonment, loneliness and violence: Aurora progressively approaches the incarnation of the adult woman who one day ceased to exist. Ernesto - the man who digs an improvised grave and ends his days consuming brandy - personifies the loss of control, transforming himself into a possessive aggressor and the woman into his victim, until the premature grave. Violence emerges through sound expressions, passed backwards, tearing even innocence from chaos. Aurora watches the revelation of this discovery. Ernesto completes his irreversible decline. The Doll is a witness to what cannot be forgotten.

We are at the beginning of the 80s, in the interior of Portugal, a period in which the strong impact on those who still remain after the great exodus to the coast of people from rural areas, started in the 50s.

Directed by Miguel Chichorro

Cast: Carolina Monteiro, Manuel João Vieira

Director Statement
This film was inspired in 'Renascer' by the Galician photographer Eva Díez. In her photographs of abandoned houses, she intervenes with beams of light: 'The light, a symbol of energy and also of truth, invades these ruins, recovers their memories, dwells in these houses, thus giving them another life.'

'Aurora' is a story that portrays the memories of rural places in the interior of Portugal, abandoned and forgotten by time, victims of rural exodus. Just like in 'Renascer', where light invades the space, in 'Aurora' it is the sound that is released from the stone walls of the abandoned houses, revealing the awareness of what happened there – from moments of innocence to acts of violence. 'Aurora' is built from the point of view of a girl with her doll, who seemingly has all the time in the world, until her impatience takes over.