This remake by Leonel Vieira feels unnecessary and ultimately falls short of being a good film, despite having some interesting aspects. It's apparent that Vieira has followed the current trend of remaking older films, a practice more common in Hollywood where there’s a vast library of forgotten stories. This isn’t as relevant in Portugal, which lacks a comparable history of cinema. While some films might benefit from a remake or update, like “O Feitiço do Império,” a film with such a controversial past that a complete copy no longer exists, Vieira could have created something worthwhile by reimagining the story during the final years of Portuguese presence in overseas territories—a politically neutral exploration of those who worked and fought there, and their interactions with native Africans. That would have been a more fitting project. However, this film isn’t an interesting or needed remake. It's similar to his previous work on “O Pátio das Cantigas,” though he seems to have learned from the mistakes of that earlier film by avoiding excessive focus on romance and intrigue and showing greater respect for the original material. He didn’t simply copy it; instead, he updated the story, added new elements, and directly replicated certain scenes from the original, like Vasco's final exam and wedding—even reusing the dialogue. Some choices, though, feel questionable: Alice’s backstory as a Portuguese woman raised in Brazil who returns to Portugal at her father’s request feels contrived and unnecessary, seemingly intended to create a multicultural atmosphere similar to “Pátio das Cantigas.” While acknowledging increasing immigration is important, I don't see it as something inherently positive, especially considering the exploitative labor practices involved. Casting César Mourão as Vasco was a good decision; he’s young enough for the role and possesses musical talent that's unfortunately underutilized in favor of superficial guitar music instead of more authentic fado. The Brazilian actress Luana Martau also made a solid choice, bringing strength and energy to her character, something Beatriz Costa didn’t quite capture (though Costa is known for her strong personality). Marcus Majela was a welcome addition as well. While I appreciated São José Lapa and Maria Vieira's performances, transforming their characters into a decadent lesbian couple felt like an error that disrespected the original story. Though intended to appeal to a “gay” audience, such changes feel out of place. Miguel Guilherme’s performance also disappointed; he was overshadowed by António Silva in the earlier film. Furthermore, introducing a political subplot seemed forced and unbelievable.

Source on TMDB