Just like Van Gogh, Artaud or Bispo do Rosário, Maia is a great artist considered to be mad. Committed to a mental hospital in Mozambique and being looked after by Marieta, she manages to escape. With the involuntary help of a protestant pastor Maia goes to search for her terrorist husband, Demon Boy. When she finally finds him, she is emotionally involved with the pastor. In turn, Maia’s husband Demon Boy (a projectionist) who is the devil incarnate, ends up killing the pastor. Although the pastor is dead, Maia does not forget him and, carrying him in her heart and in her mind, she goes in search of work for Demon Boy. Tired of running away and looking for work, Maia is also divided between being a believer or a medicine woman. If she chooses to be a believer, she will be closer to the dead pastor’s spirit. If she chooses to be a healer she will be able to talk with him and make love to him.
I am not interested in turning cinema into a psychologist’s couch. Nor am I interested in making militant cinema. What is, indeed, important for this film is to summon the four forces which I perceived in the field. Summon the Order to get to the Madness and summon God to get to the Devil. Let me explain: what interests me is to work on the reality and the presence of their history in the social and political situation of Mozambique today. What interests me is to summon the Order established by the present regime and link it with the liberating Madness of artistic creation. What interests me is to tell the whole truth by way of fiction. What interests me is to speak of the Devil of the Mozambican God. If every nation is a fiction, this is the film of Mozambique.