On one side stands an evil sorcerer, on the other a good Old Man. Between them, the unhappy Janek struggles for his happiness, Princess Alina for her love, and the unhappy king searches for self-respect. The miraculous stone that Janek has received from the Old Man can bring happiness, wealth, success, but only for Janek himself. With the help of the stone, he wins for himself a princess from the hands of a cruel sorcerer. Janek finally has his love, but the Wizard takes revenge and takes the land's water. The young man's happiness is too lonely, the people of the land are facing misery and suffering. What will Janek do?

In the second half of the 1980s, so-called critical films began to emerge, but they were afraid to make a sharper statement, moving on the basis of an engaged morality that wanted to improve the existing conditions cosmetically at best. The theme of the search for a new anchor in life becomes a central element: the protagonist, after returning from the war, does not want to devote himself to the constraints of elite sports, he rejects the dubious business of a friend. Most of all, he would be attracted to a perfectly ordinary job in a bakery. The dance clip inserts, however, make it difficult to navigate the already rather confusing narrative.

Young provincial actor Perda, long confined to minor roles, is cast unexpectedly as the lead in a vacuous new play by an ambitious writer. Despite a lackluster script and an audience that largely abandons the performance at intermission, the production proceeds to secure funding. Frustrated by being told to blend in, Perda ultimately decides to assert himself boldly on stage.

A loose adaptation of Luigi Pirandello's play "Henry IV."