A family movie. The father wants to make a film with his son João, who, in turn, wants to make his own film. Thus, we enter an invisible border, always displaced, between white and black, between life and death, between those who shoot and who is filmed, between an outsider and a resident, between one generation and another. John refuses a dividing line between these two worlds and makes his own images on the cell phone. In the eyes of a tripod-narrator, he has small steps, a shyness that contrasts with the shrewd look when it is his turn as an observer. A boy who proposes and frui, still without assuming, all at the same time, in superimposed attitude. John is Negrinho, but he is also John, double in himself as well as all there, including the very city that he has just met and strange.—Thaís Inácio