A journey across unique places that challenge the world of their time, landmarks of the future built by revolutionary minds that can be described, each in their own way, as architectural utopias. The film is divided in five chapters which represent five works, amid renowned artist and others almost anonymous, by the following order: the Palais Ideal, patiently built by postman Ferdinand Cheval for 33 years and later receiving recognition by the surrealists and situationists; William Morris' Red House, a response to the industrialisation and to the decline of craftsmanship; the Eben-Ezer tower, Robert Garcet's monument to peace and humanity; the interaction between nature and art inspired by Gaudi and feminism in Niki de Saint Phalle's Tarot Garden; and Joan Patras's Merry Cemetery, with over 800 colourful tombstones and humorous epitaphs painted and carved by Patras throughout his life in his hometown Sapanta, in Romania. Five independent chapters and five works separated in time and place, but that Sílvia das Fadas combines in a single body, thanks to their both poetic and political gestures. The director makes a point of filming, editing and screening in 16mm, and the format, is more than an aesthetic issue, or the search for the film's materiality. Just as the buildings she depicts in her film, the director seems to argue for the importance of manual work over technology, the visceral relation between the authors and their work, the return to a world on a human scale and the pursuit of new utopias, because a true home is yet to build. (MD)