The film tells a story of a mole, who after being extracted from a man’s face, decides to give a new direction to its life. It falls in love with advertising and becomes a successful creative – awarded many times at the Creative Club Yearbook.

This story definitely reflects the life of several creative professionals. First of all, their passion for the advertising that they saw on TV, on posters and in magazines, and the desire to working on it. Then, the love for the trade, the hard work, the fun, the search for ideas and for recognition, which, for every Brazilian creative, also means being awarded at the Creative Club Yearbook. Through this saga, which has some surreal touches, the Creative Club reminds the importance of the Yearbook for the creative careers and for the reputations of advertising agencies and production companies, as well as calling out for all to submit their jobs and compete in the 40th Yearbook.

Film opens with a man in his early 40s, arguing with his wife in the living room of their home. The argument is apparently harsh. Lettering: CCSP presents:

The camera is voyeur, it watches the two characters, however, the shots are wide, the most we see is his shoulder, with his back turned, we never see his face. We only show the woman.

Woman: Alcides, let’s admit it, dammit. This relationship has been over for quite a while. And it was YOU who gave up on it. By the way, you have given up on yourself, Alcides. You only think about those horses. It’s unacceptable! Look at you: all sloppy, with that big fat mole on your face...

At this moment, we have a dramatic close-up shot of Alcides and his inseparable mole. The movement is slow and it closes in in the direction of the mole. Alcides is impassive, looking at the woman. Lettering: The fall and rise of the Mole.

The camera then takes the point of view of the guy’s mole, with some hairs in the foreground. It’s on his face. Everything now is in slow motion, the voice is muffled.

Mole, VO (it has a female voice, with that throat-clearing sound characteristic of someone who has smoked their whole life): My beginning was different from most beginnings. I began from the end.

When the mole starts talking, we see the woman – still in the mole’s subjective view – storming, gesturing, cursing. (At the moment the mole starts talking, the scene turns to slow motion and the woman’s voice gets muffled. Still in the subjective view of the mole – we see the woman storming, gesturing, cursing a lot and throwing things at the guy. The camera avoids being hit by a vase, a high-heel shoe, till it freezes on a horse sculpture that comes flying in its direction. The sculpture freezes right in front of Alcides’s face, as he gets even a bit cross-eyed looking at the object.)

Mole, VO: You know, Alcides and I have always been very close. Well, we were born together, grew up together. We’ve been through a lot of things together.

Cut to some photos of Alcides as a baby, a child, a teenager, always with the big mole. In slow motion, he rides his bicycle next to some girls, winks at them seductively as they look back at him in rejection. Next, we see several kids bullying him.

Mole, VO (it dubs what the kids say): And what a drag it was: warthog, dung beetle, lentil, black-eyed pea… Those kids didn’t ease up with the nicknames.

Super-8 scene of Alcides as a teenager, spreading a little bit of sun protection (Hipoglos) on the mole. He trims the hairs off the mole, applies a powder on the mole, puts on a visor till it covers the mole, sprays water on it to combat the heat, hydrates it with some cotton drenched in Johnsons’ oil, etc.

Mole, VO: But despite the public opinion, which was, let’s say, not very favorable, he always treated me very well.

Back to the scene in which the horse sculpture is flying in the direction of Alcides’s face. Now the scene is back in motion and he avoids getting hit by the sculpture, which crashes on the wall behind him.

Mole, VO: Bitch. Motherfucking bitch. Dumps the guy and still wants to lecture him.

Alcides’s wife leaving, with suitcases in her hands. She slams the door.

Woman: Where’s your self-esteem, Alcides? Wheeeeeeere? (echo)

Camera focuses on Alcides. He is there impassive, at the same place on the sofa… the time passes and he doesn’t even care. We see him watching an evangelical program on TV, playing one of those old Pong-style video games, playing crosswords, eating pizza, smoking… Alcides puts out his cigarette on the hole left by an olive on a mozzarella pizza. He stands up.

Mole, VO: What’s worse is that he bought this crap. He believed in it. That’s why I knew it: sooner or later, I would be ruled out. I know how it goes. It’s that time when a guy has to get back on his feet.

Cut. Camera goes back to subjective shot. A female dermatologist comes in the direction of the camera, with a giant injection in her hand, dripping.

Dermatologist: It’s a simple procedure, OK?

We see Alcides sitting, timidly, on the bed of the dermatologist office. (It can be one of those old downtown offices, with wooden walls).

Dermatologist: Now you will feel a little pinprick… Don’t worry; I’ll be quick and precise.

After the injection, the doctor gets a scalpel, we see the blade shining and reflecting a little.

Mole, VO: What a crappy ending. Burning anesthesia, that atrocious smell of burnt chicken… That’s it. I’m over.

Close-up shot on Alcides’s eyes. Subjective shot of the mole: the dermatologist takes a sharp, clean strike, like a samurai. The mole flies through the air in slow motion, full of blood (Tarantino style, plastic and dramatic, with an incredible soundtrack that enhances the moment).

Dermatologist: Now we’ll send it to be analyzed, just to check if there is any malignancy. It’s customary, OK?

Subjective shot of the mole in a little pot. It sees Alcides say goodbye to the dermatologist and leave the office.

Mole, VO: I’m offended. Alcides’s wife, that dirty bitch, is the one with malignancy!... In the end, I had no alternative. I accepted my destiny.

Cut to a shelf, full of pots with formaldehyde. The one with the mole is put up there by someone. The light goes out.

Mole, VO: I ended up on a laboratory shelf. This story didn’t seem to have a half-full pot.

Wide shot of this laboratory. We see the shelves, the pots and the person in charge of this sector.

Mole, VO: I spent long days and nights there. Me and Elias, the lab guy there, watching his 5-inch TV… But destiny played a trick on me. Surprisingly, it turned out I was wrong. It was exactly that shoddy little TV that changed everything for me.

The camera shows historical ads being played on the little TV. We see the mole always checking out the TV. It comes nearer, watches other films closely. Time passes, it gains more and more interest in the subject, watches more TV, etc.

Mole, VO: I realized that that wasn’t the end. It was a new start… “My First Bra”, that Hitler film for Folha, the Philco campaign… Fucking awesome, all classics! Some genius, popular stuff.

Elias sees the mole’s little pot there in front of the TV, grumbles and puts it back on its right place on the shelf. The mole then concludes its epiphany!

Mole, VO: It was that what I wanted to do in life!

We see quick scenes of the mole’s pot with a giant folder going to show its portfolio at an emblematic agency, then in a waiting room, in front of a typewriter, titles being typed in, near a wastebasket full of crumpled paper, a sequence of Macs (a very early Mac, an iMac, a badass desktop, a MacBook Air, etc.), by a conference-call telephone, presenting a storyboard with his duo at a meeting with suit-wearing types, by a shelf full of Yearbook stars, in parties, and the mole driving a car, arriving at an award show accompanied by a hot woman, camera flashes, the cover of a trade newspaper, etc.

Mole, VO: I really went for it. I put together a portfolio. Got an internship at an agency. I worked my ass off. Took some crappy jobs. Pitches. Open jobs. I presented campaigns. Had nice meetings. And boring meetings. Workshops (yeah, Workshops… what can you do). Sometimes I partied all night. Others I pulled-all nighters working on campaigns. Had conference calls late at night. Worked on global campaigns. I put a bunch of good work out there in the streets. And the recognition came: Stars and more stars in the Yearbook. Many, many offers. I changed agencies. I changed networks. I changed positions. I earned a lot of money. Respect. Fame… I’m on top, you know?

Today I think I should actually thank Alcides and that whore:

Back to subjective shot of the mole. The camera shows a full auditorium.

Mole, VO: I reinvented myself. I’m appreciated. Recognized...

We then see that the mole is the lecturer. The mole is on a stage, behind a pulpit, talking to an interested audience. On the big screen, we see the last chart of the presentation, where we can read the final message of the lecturer: Thank you ;-)

Mole, VO: Well, people, that’s it. Thank you… Any questions?

The crowd applauds. The film continues with that routine of someone grabbing the microphone to ask something.

Someone in the audience: Good evening. Yes... I’m a communications student, specializing in advertising, and I’m in the second semester. I’d like to know what was the… the… turning point in your career.

Cut to slide: CCSP YEARBOOK.

Enter the Clube de Criação de São Paulo logo.

Concludes with the lettering: ENTRIES NOW OPEN.