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.

To inherit the fortune he made in his previous life a man must become his previous incarnation again.

In November 1956, many people fled to Tito in Yugoslavia and were confronted with socialism, which they called "man-faced". The film's heroes find temporary refuge on a Bunyevac farmer's farm and await their fate there, as well as in nearby Subotica, in a long-simmering family and social environment, under the supervision of local internal security officers. One of them, a participant in the 1942 massacre in Baška, later a carpenter, now posing as a revolutionary, tries to blackmail his host with old memories. A naive young man of faith tries to clear up the gendarme's past, his son, a Stalinist, and his role in the revolution, as does the penitent intellectual.

As the city celebrates the holidays, a woman who has devoted her life to others seeks a sense of self-worth, but after a humiliating encounter with a stranger, she realizes she has no one to return to except her ailing mother.