Rebeca is a shy 13-year old girl. She has just moved with her mother to an isolated neighborhood in a small town, near Rio de Janeiro. Since someone is breaking into empty houses, Rebeca is forbidden to go out and spends her days alone, watching from above the wall the street where she lives. Until she sees Mika, a girl of her age, skating down her street. Soon Rebecca finds out that Mika is a trans girl. All this time, she’s been stealing small feminine objects from the local houses. The girls are bound together. Their worlds collide.

Rebeca is a shy 13-year old girl. She has just moved with her mother to an isolated neighborhood in a small town, near Rio de Janeiro. Since someone is breaking into empty houses, Rebeca is forbidden to go out and spends her days alone, watching from above the wall the street where she lives. Until she sees Mika, a girl of her age, skating down her street. Soon Rebecca finds out that Mika is a trans girl. All this time, she’s been stealing small feminine objects from the local houses. The girls are bound together. Their worlds collide.

For six decades, the cinema of Nelson Pereira dos Santos has projected Brazil into the eyes of the world. Precursor of Cinema Novo, Nelson was, more than a director, he was an ideologue, a thinker of his country.

Mission 115 was the name given by DOI-CODI (an army repression body during the military dictatorship) to a supposed "vigilance" operation in Rio de Janeiro during a musical show at Riocentro on May 1, 1981. In fact, was a bomb attack, the final frustrated, aimed at sabotaging the country's re-democratization. For the first time one of the members of that team of terrorists, former police officer Claudio Guerra, tells in detail how the operation was planned and executed. The recent work of the National Truth Commission also sheds new light on the episode and its successive attempts at scrutiny over more than three decades.