When a man flees France after the Nazi invasion, he assumes the identity of a dead author whose papers he possesses. Stuck in Marseilles, he meets a young woman desperate to find her missing husband - the very man he's impersonating.
Mula lives with her family in the country. Just before her daughter's First Holy Communion, Mula's long lost sister pays them a visit. The family believes in reconciliation, but Mula has her reasons to feel afraid of Kaja.
A busy attorney, worried that his anorexic daughter Olga might try to harm herself, since she's still grieving over her recently deceased mother, sends her to see a psychiatrist, Anna, who's dealing with her own loss in an unusual way.
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I can't understand how a movie using so cheap tearjerking tricks and superficial, false stereotypes attracts so much admiration. It would fit well as a manifesto made in 1960's by some political activists,but now, 50 years later? "evil village community vs poor frankenstein monster", again... really? This movie is blunt moral preaching, not much more.
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