In 2011, visual artist Olafur Eliasson (Inhotim, Serpentine Pavillion) conducted a series of installations in São Paulo. From the invitation to the pleasure of looking and the exploration of perception and sensorial processes in Eliasson works, filmmaker Karim Aïnouz (Madame Satã, Futuro Beach) built a unique poetic record. Shooting over Sundays, he strolled his camera through the interventions, drawing visual observations, sometimes heartfelt, sometimes critical, between rediscovering the joy of looking to the city as proposed by Eliasson, and life and leisure in the spaces of São Paulo.