The many problems of marriage and relationships may sometimes condense into something as trivial an affair as parking a car

The last part of Juho Kuosmanen's silent film trilogy.

In the heart of the Finnish forest, the long-closed foundry of the little town of Karkkila has come back to life thanks to director Aki Kaurismäki and his creation of the town's first cinema. The peace and calm of the little town of Karkkila, nestled deep in the Finnish forest, is interrupted by unexpected sounds. In the abandoned foundry, noisy building work is taking place. Inside the building, Aki Kaurismäki is both builder and site manager of what is soon to become the Kino Laika cinema. The creation of the cinema is the talk of the town. In the factory still in activity, in a 1960s Cadillac, in a bikers' club, in the local pub, in the woods or in Aki Kaurismäki's former editing room, people start talking about cinema again.

A timeless, stark, black-and-white landscape, ruthless to its inhabitant, sets the stage for the cosmic pain of separation. Right at the start, Mira Luoti’s sullen modern Dulcinea announces that she has found another man, and the jilted wanderer (Toni “Protoni” Järvinen) sinks into a blurry in-between zone that rings in the ears and bends the broken mind. He finds a shellfish-allergic contract killer as his companion/squire, and it soon becomes clear that righting past wrongs will essentially be about building a new stripper pole.