In a small town in Brazil, where pristine nature meets growing urbanity, Emelyn is a teenager with an androgynous appearance. When a woman director - both foreign and close, perhaps like a feminine alter ego of the filmmaker, arrives in town and starts to turn her life into fiction, Emelyn becomes Bernardo. Around him, loving parents, a group of friends with whom to play football, party, drink, fall in love. We will not get to know any more than that, as all that counts is the relationship built between this woman, Bernardo, and the camera, while the fiction is created before our eyes, free from any linear account. Few words are exchanged, but gestures, a closeness of bodies, and a predilection for night, which hides and reveals with the light of torches—a setting which works the film all the way through. The omnipresent dawn thus becomes a place of exploration between documentary and fiction, masculine and feminine, childhood and the age of adulthood. Ismael Caneppele successfully captures this particular state of adolescence, between the desire for others and self-invention, into which the film plunges us with sensuality and kindness.