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  In 1979, two sisters (Maria Amélia and Luciana) farewell their father (Old Thiago), an Alzheimer patient, celebrating his birthday party before taking him to an institution.

   In 2011, Thiago’s grand-daughter (Aline) and her maid (Paula) are trying to recover their abandoned house. The two women are haunted by the objects that remain and create memories to mask their despair.

   In 1938, a couple (Thiago and Fernanda) has just ended their marriage and they must share out the photos of their story.

These cores filled with fragile and poetic characters overlap each other in a single narrative. A narrative that reproduces in its inner the structure of a remembrance: imprecise, vague and full of blanks, although with an unquestionable emotional strength.

By observing these lives as a landscape of scenes that cross each other, "The Garden" aims at understanding memory as a discursive event that materializes itself in the act of enunciation and its gaps, ie, in the narrative of what is remembered by the characters; and suggests that both language and memory are enunciated acts that emerge from social gaps. Thus, language would be the instrument that socializes, strengthens, organizes and constitutes memory. Narrate and remember are related to the action of reporting, bringing to memory what is lost, to make known what is forgotten, to simulate as a fact or event a fictional remembrance.

In this web of stories and converging narratives, what interests is the whole mosaic, the time carousel in which man is set, the interplay of relationships, the synchronicity of time and action, the design that emerges from the squiggles on the grass carpet. Those squiggles open spaces of unreality in the three connected cores - at different times and in one same place. Past and future merge in present, into this scenic game that reconstructs the fragment, and the invention of memory gaps. The text is composed as a picture, full of imaginary places, images that become memory gradually