Botond Püsök’s film takes on a difficult task right from the start: that of inserting itself into a family unit consumed by guilt and trauma and which, no matter how solid it may seem, could nevertheless implode at any moment. The camera almost incessantly follows Andrea, - an actress, mother of two children, and the black sheep of the Transylvanian village she lives in. We soon come to discover the reason behind this hostility: the community has united in defense of Andrea’s ex-partner, the son of the local priest, who is now in prison for having abused her daughter from a previous marriage. When the man’s sentence is shortened, he tries to contact his son, born after the events, who now lives with his mother and his step-sister. The film’s main merit is that of making visible, even palpable, Andrea’s fear and anger, the confusion that engulfs her in the face of the village’s hostile microcosmos, where people accuse her of fabricating the whole story, as well as of a blind, irresponsible, and insensitive justice system that caters to the demands of contemptible father in regards to his son. But what ultimately shines through it all are the inner resources she musters in order to protect her family. (Liri Chapelan)