Vesna works as a nurse in Zagreb where she moved with her son and daughter twenty years previously, after her husband Žarko was convicted of war crimes in The Hague. The family only just managed to escape the wrath of their neighbours in their home town, and, even years later, her husband’s name has still made things difficult for her, both at work and in her private life. It’s no surprise that Vesna changed her surname and began a new life somewhere else. Except that the past is inexorable: after two decades have passed, Vesna gets an unexpected call from Žarko. At first she tries to remain distant, yet years of loneliness induce her to give in. They have a series of late-night conversations that send Vesna’s life into a tailspin once again. This is a compelling piece, not only for the outstanding performances from Ksenija Marinković and Lazar Ristovski, but also for the film’s lensing, which allows us to intrude upon the characters’ privacy, as if we were looking in from the outside as impartial observers; the camera starts gradually to infiltrate their personal space in long, atmospheric scenes, each choreographed in a single, uninterrupted take.