Not every return is welcome. A chamber story of Anna and Ton. Tono returns from abroad after years away and tries to rebuild his relationship with Anna, despite Anna's partnership with the doctor who helped her in her most difficult moments.

This two-part production follows the lives of three generations of women from the Jablonczay family at the turn of the 19th and 20th centuries. The first part begins in 1882 and focuses on the two older generations. The eldest, Maria (Emília Vášáryová), lives in a dead relationship with her husband Kálmán (Milan Kněžko). She is the mother of a son and three daughters, each of whom tries to cope with her despotic nature in different ways. In the second part, the youngest, third generation of characters enters the scene. Lenka (Zuzana Vačková) is first educated in a convent with the kind approach of the mother superior (Magda Vášáryová) and slowly gets to know the real world outside the convent and her strict family environment. The play is based on the novel by Hungarian prose writer Magda Szabó, originally titled "An Old-Fashioned Story," in which the author describes the family life of her own ancestors.

Premature motherhood causes serious emotional and psychological problems; the young mother, deceived in her first, still naive love, thinks that she has not yet enjoyed anything and already has to take care of the baby. Even finishing high school becomes a big problem, which requires a lot of self-sacrifice.

While parents help blacks in Africa, their children learn to be independent. The youngest is left in the care of the eldest. But who has to listen to whom is a big question, it is not clear who will screw up more. And when the parents come back, the grandchildren will follow.

Magdalene has everything except one little thing: money. But the beautiful and wise daughter of a poor peasant knows that one day, the day will surely come when everything will turn around for the better. It sounds unbelievable at first, but her father's current troubles may be Magdalene's redemption. For when the young judge rules against him, it is Magdalene who writes an appeal against the decision. And the judge can't wait to meet the author of such a perfectly worded objection. When she appears at his door, the judge doesn't hesitate for a second to embarrass her by offering her the opportunity to join his service. At this point, however, the question stands quite differently...

Slovak musicologist Agata Schindlerová, now settled in Dresden, has spent years mapping out the forgotten destinies of Jewish musicians whose lives were irrevocably marked by the advance of nazism. Scenes from the lives of several of them are portrayed in the film In Silence (ballet dancer Alice Flachová, pianist and conductor Karol Ebert, composer, conductor and director of the Dresden Theatre Arthur Chitz, pianist Edith Kraus, and the vocal ensemble Comedian Harmonists), which draws a sharp contrast between the protagonists’ carefree existence working and making music during the pre-war era and the subsequent severe upheaval in their lives brought on by the proliferation of nazism.