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.

The story of the film follows Lazar, who, after a number of years spent as a traveling street artist, playing motionless sculpture, found himself on a small Mediterranean island. He longs to return home, but his departure from the island is complicated by the island bureacracy.

This performance, a monument to the Serbian language, culture and history, was created in Orašac, in celebration of the 200th anniversary of the modern Serbian state.

Luča, daughter of the retired secret service inspector Petar went missing. Wanting to find the reason of her disappearance, Petar digs deep into his past and his world of lies slowly starts to crumble.

The story of the film is set in the period from the 1940s until today in the Pannonian plain (the plain in the Central Europe), in an area of elusive boundaries, mysterious and unstable spiritual identity. The witness of the time is a Jewish boy Benya Cohn who, with his eye wide open, remembers the tragedy of his family, in the shadow of the Holocaust, concentration camps and new wars.