Ana, a teenager caught between her absent-minded father and her driven mother studying for the bar exam, secretly pines for the ice skater Teodor while leading her band in hopes of a breakout hit. As she juggles rehearsals, crushes, and schemes to reunite her divorced parents, a series of humorous and heartfelt mishaps forces her to grow up and discover what truly makes a family whole.

Spring 2020. The coronavirus pandemic has broken out. Theaters have stopped working. Rehearsals of plays have been suspended. Silence, emptiness, ominous silence. Nevertheless, director Ana receives an offer to dramatize and direct “The Goalkeeper's Fear of Penalties”, a masterpiece by Peter Handke. It is a great challenge and a chance to jumpstart her stalled career. The problem is that the creative process emotionally inhibits her and blocks her sexuality, but with the persuasion of her best friend Sanja – Ana nevertheless embarks on the creative process. The director is faced with typical theatrical folklore.

Yugoslavian filmmaker Goran Markovic directs the psychological drama The Cordon. Set in Belgrade over Easter weekend in 1997, the film involves a group of policemen who respond to the city's political turmoil. Due to the overthrow of Serbian leader Slobodan Milosevic, violence and protests have erupted all over the city. Patrolling the streets in a bus driven by Uros (Ratko Tankosic), the unit consists of Crni (Dragan Petrovic), Dule (Nikola Duricko), Kole (Nebojsa Milovanovic), and Seljak (Nenad Jezdic). They are led by commanding officer Dragon (Marko Nikolic), who isn't entirely sure what to do himself. Throughout their weekend-long shift, each man battles with his own personal problems as the political tension escalates. The Cordon won the top prize at the 2003 Montreal World Film Festival.