an important ally to the film crew because she volunteered to introduce them to everyone she thought might like to participate and collaborate. She instructed the groups about the community members residencies and characteristics and suggested the routes. The camera was mobile and started in the car while Eduardo Coutinho introduced the plot and continued following him throughout the film while they walked by places; entered on peoples houses and even when they approached people, apparently, for the first time. I noticed that by observing the different ways people reacted in front of the camera.The takes were usually long portraying complete sequences of people speaking and telling their stories. What turned the movie into an ethnographic search for oral history more then cultural events that usually happens spread in different times of a certain place. Even without a focus on the documentation of special events or celebrations the film developed dynamism centered by peoples performances on their ways to tell about their stories. The dynamic aspect was enhanced by the edition that sometimes fragmented some sequences connecting them with different related or unrelated ones to later come back to previews sequences. The edition mixed takes and sequences displaying ordinary and interesting facts and points of view from different members of the same community, most of them family members or related neighbors.The way they portrayed the landscape was also a way to tell the narrative through the camera and productions point of view. The focus on the arid landscapes while the crew walked from one location to the other showed the spectator about the harshness of leaving in such arid regions the difficulties to get food and water, the poverty of houses with they typical furniture and clothing. Everything reduced to the minimum necessary until the limit of the lack of basic needs, expressed by peoples testimonials, when talking about their salaries, the drought and the government water and food provision.The film aesthetics is provided by the local landscape and locations without light or technological special effects. The composition is an aspect that seems sometimes intentional to get the better settings, close-ups, arrangements, sceneries and natural light. The edition allows a sense of local time and space by portraying the configurations of events in the events. (Henley, 2004) It allows us to have an idea of how long time is in that location. I stayed with the impression that in these places time seems to pass slowly due to the natural flux of natural events, following days, nights and seasons summed up to occasional cultural and social events that even if they are not portrayed are still in the scenes subjectivity.My only observation of a negative aspect that I noticed in the directors method was the way he interviewed people. He sometimes interrupted individuals narrative to pose a following or another question and that seemed a little artificial in the conversation flux as if there was an impatient approach to individuals in some moments. Overall Eduardo initiated the conversation by asking people to talk about anything they wanted or thought as important or