País Irmão

The Minister of Culture, Manuela Azedo, tries to find a solution to divert the attention of the "case that can not be mentioned". At the same time, we are introduced to the life of Luís Ávila, a young man who tries to document moments of his life with his cell phone, and his father, José Avila, a veteran producer who considers his best days to be a part of the past.

The Minister of Culture, Manuela Azedo, launches a competition for the creation of a new series, produced in conjunction with Brazil. José Ávila and Luís Ávila, father and son, producer and screenwriter, decide to work on this project, rekindling their conflicting past.

José is resentful when he discovers that his project was not the winner of the contest. At the same time, Fernando and Vera realize that the producer chosen for the project may not be exactly what they were expecting. As a result, José receives an unexpected visit, which may change the course of his life.

The creative differences between the team are noticiable. On the one hand, Luís wants to remain faithful to what he wrote, on the other, there is pressure not to let the novel fall into a historical (and even boring) account of events. José accepts the criticism for not getting into trouble with Luís, since the conflict between the two is always imminent.

All crew members know each other, so that they can consolidate the union of the team that is experiencing a moment of chaos. Between wardrobe staff, make-up artists, method actresses and Hollywood stars, it becomes difficult to keep the chaos away. José and Branca become the pair of "good police and bad police". Luís and Rafa are in conflict, without realizing the mysterious origin of the re-written scripts. Tony Santa Clara tries his luck and enters a game of seduction with Thaís.

Filming begins, adversity arises and friction grows. José confronts his past with Clara, under pressure from Luís. Thaís realizes the game that Tony tries to do with her.