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This is a remake of Brazil's first international success in the cinema world. Just as its same name predecessor was, this film is a fictional version of the story of the "cangaceiros." These were bandits who sacked towns and spread terror throughout Northeastern Brazil in the 1930s. This group of outlaws is led by Captain Galdino and his wife Maria Bonita.
A story of three teenagers on the slum of Salvador, Brazil. Café runs away from the interior because of a "family revenge" that persecutes him. Arriving in the capital, he tries to find her father, who is imprisoned in a local prison. Pépi lives on the outskirts, where she is raped by her stepfather and expelled from home by her own mother. Limão lives in a hole under a viaduct with Marta, who is very weak due to drug addiction. The three come together to survive, while the friendship grows between them. But the setbacks of everyday life end up leading them to different paths.
After being exiled for 26 years, Tieta returns to her native village in Bahia, bringing chaos and upheaving the local order.
A retired army sergeant, a police officer and his wife and a drug dealer apparently have nothing in common, but they will unite for a greater good. When people start using explosives to fish on the edge of Salvador, Bahia, this group will do everything to end this environmental crime. But in the search for the paths that seem most correct, each one of them will go through more personal and moral conflicts.
A police officer tries to find out who is to blame for a crime committed against a candidate for mayor of a small town. He hears versions of a hired killer, the victim's fiancée, and the candidate himself.
A kino-investigation about spectatorship, a continuous conversation between different kinds of spectators: which one is more cinema: Citizen Kane on a mobile phone or a football game projected in a cinema theatre? What is the cinema of uncertainty? How many kinds of amazement exist? Does fear and belief precede amazement? What are the rights and duties of the spectator? Is the essay film a manifesto against voyeurism? Should spectators be paid? What amazes the spectator of this day and age?
