In Alice, I wanted to explore the idea of obsession and I wanted to change for once and for all the idea of Lisbon as an old-fashioned city. That is why I created Mario, someone who lost his daughter (the main character but, at the same time, absent from the whole movie) and who, feeling powerless to react in a world that seems to be giving up, designs a parallel way of living, apart from the society that surrounds him.
It is, therefore, between Mario and the city that most of the film dialogues are established, silent and mysterious dialogues. In the evening, once back home, we observe in his footage the anonymous crowd, in its slow and blurred pace, and we no longer know if those images are real or just a creation of Mario's fantasy - one face after another, one day after the other.
The city becomes a place of abstraction where Mario tries to hang on to the image of the missing child, the image of that blue dress that will haunt him forever.
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