「5つの歌詩」では、DREAMS COME TRUEの「何度でも」「マスカラまつげ」「空を読む」「TRUE, BABY TRUE.」と新曲1曲の歌詩を映像化。

In this symbolic and philosophically weighty film, all of the inhabitants of a Portuguese mental asylum suffer from religious delusions of one kind or another -- even the cynic who denies the value of any religions at all. One couple re-enacts the story of Adam and Eve in the Garden, and then the woman who played at being Eve plays at being St. Teresa de Avila. Another man thinks he's a character from a Dostoyevsky novel, and yet another claims to have in his possession a fifth gospel from the Bible. Everyone has a point of view and is not shy about stating it, defending it in debate with the others with great sincerity, though (the reviewers claimed) with very little elegance or wit. (Clarke Fountain) What would've happened if Lazarus met Nietzsche? The man who raised from the deads and the man who killed God are but two faces of the same soul. Oliveira let the books talk about human greatness and misery. If you are not interested in the theological debate, don't waste your time here. But if you're not interested, you're already wasting your time. (Dionysis)

改编自乔家小桥在晋江连载的小说《神曲》。

頑皮老頭高達在新作挑釁如常，堅持如舊，對電影愛情如一，但從形式到內容，卻續有新境。比前作《愛之頌》更練達更擊中要害，是他近年最激的反思作品。三段結構的開篇〈地獄〉，戰地實錄與荷里活戰爭片交替，寓意彰甚：人類真會嗜戰。〈煉獄〉借薩拉熱窩做說書人，真實與虛構人物（包括高達自己）到此舉行文化圓桌會議，大家在寬恕迷宮中兜轉，唯有佇立已修復的莫斯塔古橋，才感一絲希望。高達最後領我們到〈天堂〉，人間竟有春色如許？

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Today Isaías runs back and forward between the park where he plays with his kids and his architecture studio, where he complains to his colleague Nico. No matter where he is, Isaías feels he should be somewhere else. And when he's with Ainhoa, his wife, they realise just how tiring children can be when they're so young. In the park, he makes friends with Sonia, the mother of another child, from whom he learns that raising children and coming of age isn't that easy. It never was.