When Henrikas Šablevičius started filming Lithuanian “oddballs” – a professor, a fortune teller, racers, and many others who fell short of the concept of the “model citizen” – he invented a bizarre new genre of documentary biopic. Characteristic of these portraits is a sense of mocking irony directed not at their subjects (on the contrary, the filmmaker’s affection for them is palpable) but at the “Soviet hero” genre. The subject of this film is Apolinaras, a kindhearted policeman who even outwardly looks very unlike the ideological “guardian of morals.”