The author created the characters and relationships seen in the movie in such an intriguing way that they keep the audience's attention for a long time. With that said, the first story in the movie is probably the least interesting (the stories in the film succeed the prologue in which the protagonists each have a short introduction), more precisely the one about the soap-opera director who is caring for her dementia-stricken father. The general impression is that in spite of the palpable chemistry between Lana Barić, with her continuously great performances, and the Balkan cinema classic Vojislav Brajović, the screenplay just lacks the potency and energy needed to avoid feeling redundant at times.
On the other hand, the two remaining stories - the first one about a family in which a tomboy girl (a stunning performance by the young debutant Helena Beljan) bears witness to the ruin of her parents' marriage, her mother being a make-up artist working on the TV soap-opera (a routinely good Nataša Janjić), her father a convicted felon (another debutant with a rather impressive screen presence, Goran Hajduković), while the other story follows the pregnant and seriously ill producer of the soap-opera (a great performance by Nataša Dorčić) who unexpectedly falls in love with a considerably younger man (played by Filip Križan), who is in fact the son of her current husband (a quite ordinary Sebastian Cavazza) from his previous marriage with another woman - are far more complex and dynamic, which in fact means that the movie in terms of quality grows from the first act all the way to the end.
The ending itself is exceptionally impressive, and equally moving: Ivona Juka managed to give almost all of her characters a believable and convincing happy end, despite all the various suffering she made them endure throughout the movie. And that is really just one of the many masterful and daring choices and decisions the author made in the course of the movie (e.g., an extraordinary example of parallel editing in which images - of the mother's/wife's adultery, her children playing , her husband/father and those of sex between a middle-aged pregnant woman and a young man who is in fact the half-brother of the child in her womb - are extraordinarily interconnected by association), this time proving again that she is definitely to be counted on as one of the most prominent figures of her regional cinematography.