A particular family formed by Milla, pregnant, and by the two parents of the child, Gilmar and Igor, faces life in Serra do Ramalho. A life that includes, in spite of the three, the prejudices and homophobia of Bahian society. In a place where nobody knows very well who he is, where he came from or where he is going, Milla, Gilmar and Igor seek to form a family. They take with them dances, routes, motorcycles, wind and constant movement in a sleepy and static town that does not question their adversities, but suffers them. The inhabitants of this city of the past seem to be mere sets, a kind of collective from Bresson that sees its sleepy rhythm affected when the trio of dreamers bursts into that conformism in order to reaffirm their desires and identities. The still camera exposes bodies in full mutation. While the protagonists dance, kiss and over them hearts are projected, one can not do anything but rethink the power of the audiovisual image as a space for building a gaze in a context often hostile.