Selminha is back! Now wealthy and willing to pay generously for all her needs and desires. The problem is that a poor person’s happiness is brief: a namesake heir appears claiming that she is the legitimate inheritor and Selminha’s assets are frozen. Her only source of income becomes a minimum wage salary of R$30 per day. However, Selminha has already forgotten how to live the hardships of poverty. And worst, she is the patron of the Quintino community, and with her financial difficulties, the community also feels the squeeze.

Helen lives in a cortiço with her grandmother, Mrs. Graça, who supports the family with informal jobs, such as selling skewers. Still very naive, her biggest concern is buying her grandmother a birthday present: a makeup kit. The girl is going to bend over backwards to get the money and her search will reveal the daily life of those living in tenements, outlining a collective story from the network of relations that the girl establishes.

In a quilombo in the backlands of Ceará, Dulce witnesses the murder of her partner, Davi, carried out by gunmen on the orders of a foreign mining company. Threatened, Dulce goes to São Paulo, where she gives voice to the crime that occurred and denounces the involvement of the multinational, with the support of NGOs and lawyers. Orphaned and raised on a mission by sisters, Dulce is sought out in São Paulo by Beatriz, who reveals herself to be her mother. Abandoned as a baby, she also discovers that she has a twin brother, now her sister Marisa, who owns a karaoke bar with a "refuge" spirit, which brings together an LGBTIQ+ audience, a completely new universe for Dulce. Dulce and Marisa demand that Beatriz reveal something about their unknown father and now set off together, back to the backlands, with two missions: to celebrate the victory of the quilombo and to find the father who never knew of his daughters' existence.

In six decades, Teatro Oficina has done more than revolutionize theatrical language in the country: the aesthetic influence of José Celso Martinez Corrêa's company extends from Tropicalism to the renewal of Brazilian audiovisual languages ​​from the 1960s onwards. The film revisits a story that it involves personalities such as Caetano Veloso, Glauber Rocha, Lina Bo Bardi, Chico Buarque and Zé do Caixão, brings together scenic art, ecology, architecture and sexuality, and mixes art and life in the search for a Brazilian based language.

Due to her father’s death, Marie returns to the countryside after 15 years. Her childhood friend, Estêvão, is leaving with her on a trip to Crato, her father’s hometown.