Polish countryside of the 80s. It is Sophia's birthday. She is waiting for the arrival of her daughter Amelia and her husband Taddeusz, who have been living in Canada for 10 years. Suddenly Amelia arrives alone. The real reason for Amelia's emigration and the brutal truth about her father reveal and this is only the beginning of the intricate story of the family. Canadian Dresses - a symbol of a lost childhood, a mother who forces her decisions, the true passion and a theft of jewelry - are just a taste of the story, ironically depicted through the eyes of a small observer, a 9-year-old boy.
Renee wakes up one morning in the middle of the desert with blood on her hands. She cannot remember why she is there, how she got there or with whom she came. Her quest to uncover forgotten events leads her on a journey of discovery where reality and memory collide and people are not what they seem.
Using the backdrop of the banality and ordinariness of everyday life in a small provincial town, the film analyses the relationship between two women friends, who struggle to find their way in post-communist Poland. The small events of their lives represent universal feelings of being trapped and lost in a new world, in contrast to the successes of the dark side of democracy - drug dealing, crime and pornography. By its very nature, the film creates a picture of provincial Poland after democracy, but its charm is in the understated relationship between the two friends and the people around them and in the mosaic structure that builds up the film piece by piece.
