Gomes closes his trilogy with a fascinating blend of delirious fantasy and melancholy poetic realism that travels from ancient Babylon to present-day Lisbon. The Enchanted One refers to Scheherazade, who opens the film by recounting the feverishly romantic tale of the many strangely talented suitors who vie for her affection. The majority of the film patiently follows a team of amateur bird trappers enamored with their prey to which they teach new songs for a long-awaited competition. Like the fragile birds kept in cages, the lonely workers are capable of endearing magic but remain helplessly cut off from the rest of the world, emblems then of Gomes’ country’s vast potential and precarious state.