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We are here, there, anywhere. We breathe, laugh and have fun like anyone else. We take the day like this until we're alone again, that's when loneliness comes, the mask falls and we're ready for another sleepless night.
"The fire in the hearth never truly goes out. It merely waits for new firewood." Apparently abandoned, this old mansion harbors countless horrors, and those who dare to explore its secrets may discover that the greatest danger lurks not only between its walls, but also among themselves. Whether because they received a mysterious invitation, because a friend disappeared, or simply out of curiosity to explore the manor, everyone will eventually discover that, inside, nothing happens by chance — except, perhaps, the arrangement of the rooms. If they want to survive, they will need to pay attention to every detail and unravel the residence's greatest secret before it is too late. But one question remains: why, with each new visit, does the fire in the hearth seem to burn more intensely?
The summer of 1989 promised to be just another one among so many. Six friends, about to leave school behind, decide to escape the routine and the bittersweet goodbyes with an improvised trip. The destination: an isolated cabin, lent by Adam's uncle, hidden deep in the Blackwood Hills forest. A perfect place to drink, laugh, and enjoy their youth, far from everything and everyone. The isolation seems like paradise. Noah's old van crosses the dirt road, the lake reflects the light of the setting sun, and the promise of peaceful days welcomes them. But the Blackwood forest is not just a silent backdrop. It is ancient, jealous, and has its own rules.
For years, Lídia Sampaio considered the dogs of Jacarandás Street an assault on civilized coexistence. So when a morning dawns without a single bark, her first reaction is gratitude. The gratitude, however, does not last long. In Vila Olaria, animals begin to disappear, inexplicable marks appear on the walls, and certain houses begin to harbor spaces that should never exist. While the residents seek explanations reasonable enough to continue their routines, Lídia discovers that there are far worse inconveniences than a noisy neighborhood. Between supernatural horror, everyday absurdity, and the melancholy of small absences, the tale investigates what we have learned to ignore, especially when its warnings blend with the usual noises of life.
In Santa Amélia, the last trip of line 86 crosses the border between the known world and the existences that, for some reason, were left on its margins. For seventeen years, Marta Amaral has driven this route, coexisting with passengers for whom time, death, and reality itself seem to obey particular rules. The Passengers Who Never Got Off explores memory, grief, motherhood, and the desire to recover what life has taken from us. In a universe where abandoned possibilities continue to exist, the story investigates the limits of belonging, the consequences of our choices, and the difficult coexistence between love and loss. Between the absurd, melancholy, and supernatural horror, the narrative finds in the small everyday intimacies some of the most unsettling questions of human existence.