Viola Ježková

The film mediates a certain kind of mental space of timelessness. At the edges somewhere unfolds the maternal body. Images and sounds of the first months after the author gave birth to her children constitute the film's distinctive language. Thus the film confronts habitual ways of imaging and understanding maternity with personal experience. From this point it is possible to approach the reality of new life and motherhood. The space between a mother's love and lactation psychosis is pervaded by intimacy and fragility on its own. The micro event in each scene contrasts with the toughness of static time framed into the white winter landscape. Thus the film speaks about something profoundly basic.

A threefold portrait, presenting the reality within the limits of a subjective view, puts together the lives of an increasingly more remote writer and musician; a hacker, dreaming his dream of transformation into a purely virtual existence in the depths of technology; and an undertaker, unrealistic raconteur, living on the history of half-mythical Sudetenland.