Ileana Codarcea

Ioanide, an apolitical and misunderstood artist who dreams of "things that are normal abroad but impossible here", led a difficult life as an architect under the old regime. After 1944, his situation improved thanks to the benevolence of an enlightened communist nicknamed Botticelli, whom he once hid from the police in the attic of his house. He receives commissions for large-scale cultural monuments, although he has "on file" the ballast of his children lost in the legionary adventure and continues to accept, in his entourage, a circle of sycophants from the former elite.

Three sequences which could have formed separate stories are linked together to give a larger perspective on the nature of reality and film. The three episodes are joined together by one film crew at work. In the beginning, the crew is introduced as they juggle their dual roles as State-supported propagandists who laud their government and society, and as private movie makers working on their own film. Next, they are in a restaurant looking for suitable locations to film when the eatery’s owner is induced to wax long and lugubriously on his miserable life. In the last segment, two extras are in the background of a scene, sitting at a table in a restaurant. It slowly becomes apparent to one of them that the man he’s sitting with tortured him more than 40 years ago at a Nazi concentration camp during World War II.

Mircea, an auto-mechanic engineer who has left his wife, attends his son's pioneering Sunday go-kart rallies. There he meets the father of his colleague and rival, a prosecutor. The situation becomes tense and a work accident is investigated by the prosecutor himself...