Zoya Baranovska

Four short stories are set along the roads of Donbass during the war. There are no safe spaces and no one can make sense of just what is going on. Even as they are trapped in the chaos, some manage to wield authority over others. But in this world, where tomorrow may never come, not everyone is defenseless and miserable. Even the most innocent victims may have their turn at taking charge.

Young couple are spending one of the last nights together. Their relationship is almost over. He is going to leave Ukraine and start work in Poland. She is on the way to her new life in Kyiv. They try to talk, but the communication breaks down. Everything they are left with is emptiness. In the middle of the night, someone knocks on their door. Again and again. When they come to the door, there's no one there. But the knocking continues.

1971, Odesa Film Studio. The KGB studio curator orders a re-edit of just finished movie about the events of Ukraine’s 1920s "civil war" of a young director in line with the Party’s view on the historical events. This re-editing work is entrusted to a young female editor, which consequently realizes she must protect the director’s vision and the safe-guard the truth about her country under Soviet occupation.

As Sasha prepares to leave her newly sold home after her husband's passing, his presence lingers in his paintings of her. But an unrelenting fridge leak threatens to destroy them, forcing her to confront her memories. Blending animation and live-action, the film explores loss as a quiet, persistent presence - one that seeps through the cracks, demanding to be felt.

Three days alone with a crazed jealousy killer – enough time to see what we do with love, and what love does to us.