Julio Bressane, director, had spent his juvenile days in Brazil with the greatest directors of the Cinema Novo. Cinema Novo, which was led by Paulo Cezar Saraceni, Glauber Rocha, Leon Hirszman, etc., was apparently resentment over the popularity of such cinema under the guise of progressivism, which is, resentment over modernity or perhaps, self-conquest. In , an issue of ´good and evil´ Nietzsche had tried to deal with is transformed into anger and resistance against the present generation, an age of decadence. In April 1888, Nietzsche arrives at the city of Turin in northern Italy. In his philosophical autobiography he expresses his feelings by writing ´beautiful days beyond description.´ Likewise, the film drifts dreamily with rough images of the city´s architecture, people and language, which Nietzsche might have himself captured with his daguerreo graph, together with beautiful language narrated by Nietzsche. And in the same way he listens to Bizet´s masterpieces everyday in that place, we get to listen to his music incessantly. If you ever remember Nietzsche´s words that whenever he listened to Bizet´s ´Carmen´, he had always feIt himself more like a philosopher than any other time, you might stay too long at your seat while watching the film. However, in the last scene, we come to watch what we have truly wanted to see, or what the director have wanted to let us see, i.e. the images of daguerreotype blowing over like wild storm. We see Nietzsche´s serenest face; son of Dionysus, beautiful feces of Nietzsche laid up in mental hospital, the touch of his hand. He now enters into his own realm, the line of approach, the very Adriadne´s thread, a world of Minotaur no one that can indistinguishable.