Departing from Paulo Rocha’s The Green Years, the inaugural moment of the Portuguese Cinema Novo, João Pedro Rodrigues and João Rui Guerra da Mata drift through a locked-down Lisbon in search of subtle signs of life. Along the way, bitterly comic examples of the class character of pandemic responses butt up against strange moments of serenity. Their camera moves with a disoriented attention, equally curious and apprehensive of what it might find in this new world. As in life, history returns in strange and unexpected ways, though here that return occurs in mercifully gentle register