Vladimir, a young boy growing up in Belgrade in the 90s, is shaken when he learns that the firstborn baby boy of the family, once thought dead at birth, was actually stolen by the hospital crew and sold elsewhere.
Ever since, he never stopped looking for him.
My parents also lost their first born. Although my sister really died at birth, some of my parent’s actions were affected by the loss.
Being Vladimir’s fiancée has made me a part of the Dimoski family, and thus understand their approach to life. They turn life’s struggles into a game - something which I use to set the story.
I want to explore poetically the innocence of the soul just moments before one of those painful truths grabs one by the shoulders. The expressionist animation (80% of the film) is perfect medium for that, while the documentary part (20%) proves that the trauma is ongoing.