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Helena is a recently graduated attorney who shares her routine between her job as a Public Defender of children and adolescents in the Courthouse of the city of Santos, Brazil, and the care of her teenager brother Caio, with whom she lives a harmonic and honest life. Their relationship is put to the test when he commits a felony.

Baghdad is a 17-year-old female skater, who lives in Freguesia do Ó, a working-class neighborhood in the city of São Paulo, Brazil. Baghdad skateboards with a group of male friends and spends a lot of time with her family and with her mother's friends. Together, the women around her form a network of people who are out of the ordinary. When Baghdad meets a group of female skateboarders, her life suddenly changes.

Former political activist receives compensation money for her husband's disappearance, during the Brazilian military dictatorship (1964-1985). She is now able to afford a new home. While moving in, a visitor forces her to review her entire history.

Determined to escape their poverty-stricken lives, four talented young women living on the underprivileged outskirts of Sao Paulo, Brazil, form an all-female rap group but find their road to success is riddled with sexism, racism, and violence. One by one, they succumb to their grim realities. Until they discover that out of struggle come strength, and out of strength, the courage to continue on.

Sao Paulo, Brazil. Isabel, a 25-year-old girl, is kidnapped. The first ATM the criminals try to withdraw money from is broken. It's almost 10:00pm. The kidnappers realize they will not be able to get to the next one on time. What was meant to be an express kidnapping becomes an all-night imprisonment.

Dalva, a young hairdresser, is leaving for Miami to receive a prize. Her journey is interrupted, when her former boyfriend, Victor, makes her a captive in her own house.

Jacob, Mairun and João are all 6-year-old kids. They are making themselves costumes for the school Carnival party. Ana is not participating in the activity, because she believes that Carnival festivities are a sin. This situation causes astonishment among the friends that start a chat about their different religious backgrounds. They come to the conclusion that all Gods are welcome at the Carnival party.

Rossi is spending his day at home when his older brother brings home a group of friends. Rossi tries to socialize with them, with surprising results.

Telmo writes a play to remind him of his past and of the period he was kept prisoner in the dungeons of the Brazilian military dictatorship (1964-1985), revealing secrets he would rather keep forgotten.

Milu, a 6-year-old girl, is on vacation. This does not mean fun, because she has to stay alone at home while her mother works. Tulio, a mysterious boy, invites her to play some games. Their fantasies gradually take over the reality that surrounds them.

A documentary about two communities from the countryside of Brazil that deal with their past in different ways. It investigates the bonds between Brazil and France.

'Mascarianas' is a portrayal of the work of the Brazilian photographer Cristiano Mascaro. A master of photography, Mascaro accompanies through his camera lens the deep transformations the city of Sao Paulo has undergone.

At her mother's wake, the filmmaker's uncle tells her a surprising story: when young, her father had been a rich man, he had had some kind of mysterious problem and ran away to Mato Grosso. The filmmaker starts to investigate her father's past, in the 40s and 50s and ends up finding out a family secret.

The series accompanies at each episode a group of artists that sees the streets as a territory for creativity, militancy and communication. These performances of artistic activism started in Brazil in the end of the 1970s, as part of the re-democratization process during the final years of the military dictatorship (1964-1985). At that historical moment, any agglomeration of people in a public space could be considered as a potential target of political repression. The population was therefore forced to always remain inside private spaces, what created a culture of confinement. In recent years, initiatives of urban interventionism have increased exponentially, being encouraged by democratic public administrations. The grayish city of Sao Paulo is the stage for this series. Through ludic and socially responsible performances, these artistic collectives use the public space as a means to stimulate the population to reoccupy a territory which has always belonged to them: the streets.