Present-day Croatia. A village behind the sea, at the foot of a mountain littered with unexploded remnants of war, the patriarchal hinterland of Dalmatia.

As local tradition dictates, relatives, friends and neighbours gather around the grieving family after the sudden death of their patriarch. Just hours before the funeral, mourners come to offer their condolences, support and sympathy. The body of the war hero and nascent entrepreneur of the postwar era lies in an open casket in the living room.

During the wake, the deceased’s savings, which his widowed wife kept in the form of cash in the bedroom closet, mysteriously disappear. After the initial shock, the family is overcome with rage. They lock the door from the inside and launch an investigation that turns into a bizarre hostage situation, uncontrollable accusations, demonstrations of power and a desperate search for the enemy within.

But nothing is as it seems.

A multi-protagonist story, in a confined space and in a short time, with a large number of non-professional actors, many of whom are on screen at the same time, and with frequently overlapping dialogue.

Without knowing who the thief is, the viewer finds himself in the same position as the characters and among them, shocked, clueless and trapped. The disappearance of
the money is only the trigger for other, much deeper things to come to light: mutual resentment, envy, hidden lies, economic deprivation, patriarchal power relations,
conservatism, nationalism.

Frustration is like a beast: powerless when it is born, terrible when it grows stronger. The image of the breakdown of the family, its bonds and community is a reflection of the profound and lasting social, political and economic deregulations of the transitional society.

We want our film to be anxiously naturalistic and macabrely funny, balancing seamlessly between harsh realism, social critique and dark, absurdist comedy.