Here we see the moment when Gerda meets Brazil and also how she purges her bourgeois background through humor and criticism of customs, seeking to understand the Brazilian people and at the same time satirize the elite. At this historic moment, after the Vargas dictatorship, Brazil sought to consolidate democracy. With developmentalism and modernization, the Cultural Industry was born and newspapers were reformulated. Foreigners, both the workers (among which the artists) and the ruling elite, sought to participate in this new modernizing surge, and Gerda finds the Italians in her city taking an active part in this process – such as Pietro Maria Bardi (who directed the MASP), Ciccilo Matarazzo (who participated in the foundation of the Vera Cruz Cinema Company, the Museum of Modern Art of São Paulo and the Bienal) or the painters of the Santa Helena Group.