Student Eva is dashing up a steep slope to try to catch a bus, but she twists her ankle and the bus doesn't wait. There won't be another bus until the next day, and so Eva returns to her parents' cottage where she has been studying by herself for several days. She finds the door open, and inside a young man, Dusan, who behaves as if he were at home. Eva is a little scared and so she pretends to be a chance passerby who can't go any further because of her injured ankle. The boy offers her a bed for the night. He also fetches some plum brandy, they drink toasts to each other, and Eva starts to play Patience.

A petrol pump is run by a permanent team: the manager Vávra, a former civil engineer ing. Stejskal, a smug crook named Karafa, and an old man, Dvořák, who is about to retire. They have a well-developed system that allows them to divert part of the profits into their own pockets. The only one who wants nothing to do with the crooked business is old Dvorak, who one day will find another job. Into this situation comes a young man, Zdeněk Černý, as a new employee. He's inquisitive and works quickly. He also understands the profit-sharing system. He soon inspires confidence in Vávra and the others, but soon starts to assert his right to an equal share of the profits...

It's Christmas and divorced Eva is preparing a Christmas Eve dinner in her lonely house on the border. She is expecting her son, a soldier Zdeněk, and her daughter Jiřina with her child and her husband František. The preparations are disrupted by the unexpected arrival of her ex-husband Josef. But Eva doesn't want the children to find their father at her place, so she kicks him out of the house... But twenty-five years of life cannot be erased so easily, and past grievances suddenly have less weight. Josef returns and this time the doorbell rings. And perhaps the Christmas Eve meeting will become an opportunity for forgiveness and a new beginning...

"A documentary anatomy of mass murder for one monitor and 34 talking heads." These are the words the filmmakers use in the credits to describe their project, which thematises the execution of more than 260 Carpathian Germans, Hungarians and Slovaks by Czechoslovak army soldiers near Přerov in June 1945. The “massacre at Přerov” is made present through a minimalist dramatisation of the interrogation footage of direct participants, eyewitnesses, and others. It is as if the characters of ancient theatre were entering the Zoom “stage” and delivering a tragic message of fear, hatred and disinterest across the chasm of time.