Cinto d’Água is a full-length screenplay that proposes the physical narrative as an alternative to the spoken word. Featuring experimental music, it uses choreography dialogues similar to those of Chaplin and Pina Bausch. Bodies moving in space tell a story about attachment and detachments, the poetry that emerges in the mundane everyday life, and the challenges of a woman striving to take ownership of her own personal space.

The film addresses Marieva's path of individualization to integrate the female force asleep inside, the anima, and to communicate artistically. This metaphor addresses the subject's need for expression in life: access to self-authorization, the right of expression, affirmation of desire, and the ability to metaphorize around it. Shedding light on a female point of view of a new perception of the world. The new woman owns her singularity's public projection, her journey in this corporeal clothing.

Katherina Tsirakis delves into, with simplicity and grace, the very yearnings of modern-day relationships and our own self-worth. As we face one of the most globally challenging times, the script contemplates beyond the superficial and asks women to go deeper within themselves and their relationships to understand and own their narratives. Through surrealistic language the movie intends to present this universe where movement and expression collide and birth our protagonist, finally showing her in full bloom.