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A young girl finds comfort in play and slowly reconnects with her distant father after her mother walks out on the family.

This docu-fiction film explores the reality of “Shinsai babies,” those children born in the epicentre of or on the fringes of a catastrophic earthquake. They embody a subtle interplay between the memory of collapse and the promise of the future. March 2011. When the meltdown at the Fukushima Daiichi power station was filling screens all around the world, my father and I were in France, on tenterhooks as we awaited an imminent birth: that of my cousin. Meanwhile, the news coming out of Japan spoke of nothing but the disaster. The joy of this new arrival, five days after the tragedy, faded away without reaching us, lost somewhere along the telephone line. The disaster came as a clean break, erecting an invisible barrier that prevented our two childhoods from developing together, separated by fear and the imposed geographical distance. This project is thus conceived as the home movie that was never able to exist, punctuated by life’s great milestones, and bringing three different generations into dialogue. In attempting to stitch our childhoods back together, the narrative explores how bonds withstand the trials of the world. Blending personal archives with the effort towards reunion, this film seeks to transform a tragic date into an act of healing, making the image the place of our continuity.

The main character, a forty-year-old doctor, tries to cope with situations that life throws at her as a successful dentist, but a less successful mother, lover, and ex-wife. The heroine's relationship with her daughter, lover, mother, and ex-husband is portrayed very convincingly and without the slightest idealization, reflecting the ambiguity and controversy of the contemporary female condition. Although the author accumulates in his novel and television script almost all the paradoxes of today's self-employed woman in the heroine, nevertheless (or precisely because of this) her story reflects the experience of most contemporary women. Especially those who place high demands on themselves and others, which, however, can rarely be met one hundred percent. And if it turns out that we owe the greatest debt to our own daughter, then it is no surprise that everything starts to change completely...

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Ani, a charming young girl, is a driver at Sofia Airport. She sends a letter to her boyfriend Boyan, a worker at a large construction site. The letter contains a single word "yes". Boyan starts preparing for a wedding. The Soviet pilot Andrey will soon return home after several years spent working with his Bulgarian colleagues. They arrange a farewell tour of Bulgaria for him on which Ani has to drive him. Because of mistaken jealousy, Boyan tears up his sweetheart's letter.

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The story of two urban intellectuals who experience a series of grotesque and comical situations caused by the clash of two worlds: rural and urban.

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