Ox carts are still part of the landscapes of the Brazilian badlands, in a mixture of usefulness and poetry. Filmed in Volta Grande, in the Zona da Mata mesoregion of Minas Gerais, it was Mauro's only film in color and also his last.

A Velha a Fiar illustrates a Brazilian folk song in which a being or entity is always predating another being, but is in its turn predated by some other animal, until the circle closes. It begins like this: an old woman is quietly weaving and a fly disturbs her; a spider eats the fly; a mouse eats the spider; a cat chases the mouse and so on...

A morning in the farm shown with a beautiful musical background.

A look at the now abandoned production farms, substituted by power plants.

The popular song Chuá Chuá, illustrated with scenes of rural life. Girl observes in window. A fountain drains water. A flower. The cattle grazing. River waters. Man seen from window of wattle and daub house. Girl hangs cage with bird. Man walks towards the gate. Ducks in river drink water. The popular song A Casinha Pequenina, illustrated with scenes from rural life. Hut surrounded by banana trees and a coconut tree. Children walk hand in hand, sit on the riverbank. Birds in cages. Again the little house and the vegetation that surrounds it, especially the coconut tree.

Musical rhythms inspired by work activities. Between 1974 and 1976, Leon Hirszman held three documentaries produced by the MEC about the songs of the rural workers in northeastern Brazil. In the trilogy, there is the documentation of the work songs of sugar cane, in Feira de Santana, the growers of cocoa, in Itabuna, and team workers in Chã Preta.