According to the plot of the film in the Georgian province there is violence against members of the sect “Jehovah’s Witnesses” (a banned organization in Russia). The head of the local community, David, goes to search for the truth in the courts, and the focus of the director shifts to his wife, Yana, the main character of the film. She used to be an actress, but now she teaches children.
The film itself looks mysteriously arthouse - long plans, quotes from the Bible, arguments about hell and paradise, the symbolism of nature and so on. However, this whole house of cards crumbles when I read the director’s first interview, in which she says that Yana continues to be an actress, i.e., fulfilling the now-new role of a believing wife and mother offered to her by David. So before us there is an initially empty and unbelieving main character of the film, who is played in religion. And therefore, all of Yana's "victims," all of her "sacrifices," are a game, not something that characterizes her personality. Consider the calmness with which she speaks of the violence she has experienced. So it turns out that the victim in form has become a predator for his family, for his husband and son, who perceive this world not as a game. So all the ideas about terrible patriarchy and women's freedom that are so beloved at film festivals these days are very sophisticatedly twisted in this film. As a result, before the viewer the usual postmodern mockery of religion and family.