To Die Like a Man

In the neon‑lit streets of 1980s Lisbon, the city pulses with a restless mix of political unrest and glittering nightlife. Within the smoky backrooms of drag clubs, a larger‑than‑life performer commands the stage, her persona a dazzling challenge to convention. The world she inhabits is both a sanctuary of self‑expression and a battlefield where younger talents constantly rise, threatening to eclipse the legends who once defined the scene.

Enter a fresh‑faced conscript torn between duty and desire. Rosario, a young soldier fresh from the front lines, finds himself inexplicably drawn to the magnetic pull of the drag queen’s world. Their connection blossoms into a forbidden romance that forces both to confront deeply held beliefs: a longing to shed the past, a yearning for acceptance, and a battle between religious conviction and personal truth. For the seasoned performer, the love she discovers with the soldier becomes a catalyst for an intimate quest to align her outer self with the woman she has always imagined, even as doubts whisper from the shadows of faith.

Their shared longing propels them away from the city’s electric glow and into the winding roads of the Portuguese countryside, a landscape that seems to breathe with its own quiet magic. Along the way they stumble upon an enchanted forest, a place where reality thins and imagination runs wild. Here, they brush against the presence of enigmatic figures—Maria Bakker and her companion Paula—whose very existence hints at deeper mysteries waiting to be felt rather than fully understood. The forest becomes a mirror, reflecting their hopes, fears, and the fragile line between dream and truth.

The film moves with a lyrical, almost hallucinatory tone, blending the gritty texture of a war‑torn era with the lush, surreal beauty of longing and transformation. It invites viewers to linger in the spaces where love defies definition, where identity is both a personal crusade and a shared pilgrimage, and where the boundary between the tangible world and the realm of the uncanny is ever‑shifting.

Last Updated: August 10, 2025 at 07:59