If there are films in which the 1974 Revolution is an echo in the background, this is certainly the most literal of those examples. In the version re-edited by Solveig Nordlund in 1998, this dimension - the third in the film, to use a term used by the director at the time - is underlined by the use of documentary images of 25 April, interspersed with the story of Dina and Django, from a certain point in the film, just after the mistress breaks the news of the coup to Mrs Ana, hugging her effusively. In the version that was publicly known until 1999, the presence of the events of the Revolution, taking place alongside the fiction, was given exclusively through off-screen sound elements. Now, not that the film's meaning is thickened, but through parallel editing, this perspective is emphasised, as well as the loneliness of these heroes, dominated by the phrases of string books, with no cause other than their own, capable of immunity from the outside world, even in a moment of exception.

— Initial extract from the presentation note by Maria João Madeira, Cinemateca Portuguesa-Museu do Cinema)