Metaphorical realism is what is at the core of this work. It is a form of realism with a strong mixture of unspoken sentences and not easy comprehensible thoughts.

 

Far from the city, driving her car, the female protagonist comes into a confusing conflict with herself. She walks into her ancestral home and is confronted with, often painful, memories of her youth. A man follows her with a camera, asks personal questions and shows more memories with the aid of an, already present, TV set. The past marks us with wrinkles and influences our current behaviour in the hate – love relationship of our daily worries. It is not reality but only a picture of it. This vision is emphasised by the use of a Magritte painting: “Ceci n'est pas une pipe.”

 

The murder of the actress by camera/revolver acts as repetition of one of the most important films from the black wave of 1960s Yugoslav film production, entitled Jutro (Morning) by Purisa Djordjevic.