The couple retreats to Márcia’s remote family estate to rest, but the isolation unearths a tangled web of psychological obsession:

The director, José Cavalcanti, was known for his work in the "Boca do Lixo" (Mouth of Garbage) cinema scene in São Paulo. This district was the heart of independent, low-budget filmmaking in Brazil. Films produced here often focused on marginalized characters, raw human emotions, and themes that mainstream cinema avoided. A Menina e o Cavalo utilizes this grit to tell a story about isolation and the primal connections humans form with nature when removed from urban society.

A Menina e o Cavalo (1983) is far from a conventional film. It is a bold and controversial production from a specific period in Brazilian cinema, driven by the personal vision of Conrado Sanchez. Its bizarre plot, explicit themes, and poor reception have solidified its legacy as a film that provokes curiosity and debate among fans of unusual and rare cinema.

Due to the scarcity of physical prints from the 1980s Brazilian exploitation era, full digital transfers are mostly preserved through private underground cinema clubs, specialized archival restorations, or European boutique physical media importers.

At the farm, Márcia reconnects with her past in a surprising way. She learns from Juca (Antônio Rodi), the farmhand and her inseparable childhood friend, that Arisco, the horse she had a forbidden relationship with as a child, is still there. The animal perceives Márcia's arrival and tries to win her back, leading her to revive a sensual relationship with it. The narrative reveals that Márcia learned about these relationships as a child by observing Santina, an old employee of the house. At the same time, the plot follows a tangled web of betrayal and desire: Márcia's fiancé, Beto, becomes the target of her stepmother Cordélia's seduction.

Finding a of A Menina e o Cavalo can be challenging due to its age, niche underground status, and historical distribution limits.

— Então vamos chamar ele de Vento, pois ele parece trazer o vento até nós, trazendo notícias de lugares distantes.

The definitive record of its production footprint, including its original Embrafilme registration numbers, is preserved by the official Cinemateca Brasileira .

The 1983 film "A Menina e o Cavalo" (The Girl and the Horse) remains one of the most controversial and discussed entries in the history of Brazilian "pornochanchada" cinema. Directed by the prolific and often provocative José Mojica Marins, better known as Coffin Joe (Zé do Caixão), the film pushed the boundaries of the era's censorship and continues to be a subject of intense debate among cinephiles and cultural historians alike.