When a young princess, instead of being fully dedicated to her love, persists in running around like a tomboy and roaming the forests with her gang, and a young prince refuses to give up all his vices and mischief, an aquaphobic fairy takes their fate into her hands. The princess then falls in love with the prince, who declares eternal fidelity to her. When he however breaks this promise, the fairy turns him into a frog. With which the loyalty of the princess is being tested as well.
Stage mime Antoine Moreau is compelled by the Gestapo to put on a performance for the children of Terezin, a "model" concentration camp, to convince the Red Cross observers that the camp is truly what it seems. Reluctant at first, Moreau slowly learns the true nature of the camp, including the meaning of the "transports" on which people leave. With a world-class orchestra (made up of people interned in the camp) and a cast of children, Moreau stages a show to end all shows.
Esta balada em três partes, que muitas vezes usa a música para substituir o diálogo, continua a ser a forma de realização mais perfeita da visão de Nemec de um mundo de filmes independentes da realidade. Montando uma defesa de indivíduos tímidos, inibidos, desajeitadas, e mal sucedidas, os três protagonistas são uma antítese completa dos heróis industriosos de estética socialista. Os Mártires do Amor consolidou a reputação de Nemec como o tipo desenfreado não-conformista do estabelecimento Comunista considerado o mais perigoso para a sua ideologia.
