Three years ago, Azra (42) left dysfunctional Bosnia to follow her daughter Sara’s (18) basketball career and build a better future in Italy. They still temporarily live in Alfa, an obsolete drug rehab commune in the foggy Calabrian mountains where Azra works in exchange for food and accommodation. Alfa is run under suffocating Catholic rules by Cesare (58) and Teresa (55), the only ones willing to provide her the necessary work permit.
When one evening Sara does not return to Alfa in time for curfew and Azra eventually finds her giving a blowjob to her boyfriend, Azra is alarmed: Sara is rebelling. Worried about their plans and having to return to Sarajevo, Azra sets out to find another job and get them out of Alfa. She finds a temporary post as a tourist entertainer, only to discover that Sara has stopped training and plans to move into student dorms.
Angry and betrayed, Azra has no choice but to start destroying the illusions she has built, ultimately unleashing her own revolt.

Almost no one in Bosnia today dreams about a future in Bosnia. Those who can, leave. I have left long ago, and so does Azra, who, betrayed by her juvenile ideals and hopeless post-war limbo, follows her daughter’s career and accepts to work in Alfa until they reach a better future.
Sara is her future. Mother and daughter, best friends and partners – their relationship is the central axis of the film. And when Sara abandons their plans, Azra has to confront her own choices and sacrifices as a woman and a mother: her repressed sexuality, unfulfilling job and manipulating relationship with Cesare and Teresa.
Calabria is not much different from the absurd Sarajevo she has left behind. The better tomorrow does not live there either. Like Sara, Azra needs to rebel to free herself. "Alfa" is a coming-of-age film: if Sara learns how to grow up and find herself, Azra learns how to grow old and not lose herself.
And she will not, because there is nothing more rebellious than returning to Sarajevo.