Sandro Aguilar's 'First Person Plural': A Deep Dive into Fragile Family Bonds Amidst Shifting Realities

Sandro Aguilar’s latest cinematic endeavor, the joint Portugal-Italy production titled Primeira Pessoa do Plural (First Person Plural), is generating significant buzz ahead of its scheduled Portuguese release in 2025. The feature has already made a strong impression on the global circuit, having premiered successfully in the main competition section of the prestigious International Film Festival Rotterdam.

This 119-minute drama delves into profound questions regarding enduring relationships and the resilience of familial bonds. Featuring cinematography by Rui Xavier and a score composed by Marco Franco, the enigmatic narrative centers on the married couple, Mateus and Irene, portrayed by Albano Jerónimo and Isabel Abreu, respectively. Their decision to embark on a tropical vacation to commemorate their twentieth wedding anniversary quickly takes a disturbing turn. The idyllic journey is disrupted by severe side effects stemming from vaccines administered before their departure, manifesting as chills, feverish symptoms, and intense, vivid hallucinations.

These altered states of consciousness compel the protagonists to fundamentally re-examine the foundations of their lives, their partnership, and the delicate structures that hold them together. As the conventional boundaries of reality begin to dissolve during this period of intense trial, an opportunity arises for them to gain a deeper comprehension of their individual, true needs. The storyline also incorporates their teenage son, played by Eduardo Aguilar, whose chaotic existence stands in sharp contrast to Mateus’s obsessive need for order. The parents' separation on the night before their trip, coupled with the subsequent physical manifestations of illness, casts serious doubt upon the very basis of their shared life.

Known for a body of work steeped in poetic density and melancholy, director Sandro Aguilar deliberately eschews a conventional linear narrative structure. Instead, he favors an elliptical, almost abstract methodology. Dialogue in the film functions less as a direct exchange of information and more as a symbolic device, exposing the deep fissures within the intimate relationship and drawing the audience into the characters' subconscious realms. The film’s international profile was further cemented by its screening at IndieLisboa in May, confirming its robust presence on the global festival stage.

Aguilar, who is also a prolific producer credited with nearly a hundred works in that capacity, ventures into new territory with this project, notably incorporating humor—a tool he had previously avoided in his storytelling. The visual design is striking, featuring glossy surfaces inspired by the French style of the 1950s and meticulously crafted compositions, which together create a world that is simultaneously dark and alluring. The technical excellence, highlighted by Rui Xavier's superb camera work and the detailed sound design, underscores the sensation of a world fracturing, where polished perfection serves to mask profound internal breaks.

Ultimately, Primeira Pessoa do Plural serves as a profound inquiry into the human condition, utilizing external events as a mirror reflecting internal psychological states. Each sequence is designed to stand independently, unbound by strict logical progression. This deliberate choice, according to the director’s vision, is intended to immerse the viewer in the same state of disorientation experienced by the main characters. It is an invitation to perceive upheaval not as a disaster, but as a powerful catalyst for reassessing core beliefs and achieving greater clarity regarding what truly matters in life.