After his mother's death, a man tries to sort out his declining relationship, live-in best friend, a career opportunity and a potential new romance.

Dostoevsky’s latter-day opus about the siblings and their father is among the masterpieces of world literature. It asks profound questions about ethics and religion. Is there a God? Does the devil exist? Is everything allowed because we live in a world without morality? And if so, does patricide even constitute a crime? One of the most interesting adaptations of the material is The Karamazovs by Czech director Petr Zelenka. We witness a group of thesps from Prague on a trip to Krakow in Poland to stage the novel as a play in a derelict steelworks as part of the Closer to Life Festival. The project, however, is born under the bad sign, apparently doomed from the start. When they arrive, the roof is about to cave in, so that the actors are told to wear safety helmets. Their sole consistent audience is a laborer (Andrzej Mastalerz) who rather follows each dress rehearsal than watching over his seven-year-old son who has suffered a tragic accident in the factory.

The story tells of a statue in Pribino Square in Nitra, to which the inhabitants and ancient legend attribute the qualities of the brave blacksmith Juraj Corgoň. Driven by his love for his girl and his hometown, Juraj, with his courage, strength and bravery, helped to avert one of the dangerous Turkish raids on Nitra in the 17th century.

Even after twelve years, Štěpán, Kendy, and Karas have remained true to themselves. They are inseparable friends with an inexhaustible sense of humor and a knack for self-irony, albeit with a slight touch of skepticism.