Jan Berger Jiří Bartoška, a veterinarian, lives under the quiet tyranny of his wife Olga Eliška Balzerová. When Olga's father ends his life voluntarily, Jan realizes that his father-in-law's life was controlled the same way as his own, and he fears he could end up the same. This sobering moment sets the stage for a quiet, intimate look at power, affection, and the pursuit of autonomy within a family that believes it knows what is best for everyone.
To gain a measure of freedom, Jan pretends to suffer from Alzheimer's disease and is admitted to a psychiatric hospital headed by a friend who grants him a surprising amount of latitude. In this guarded exile, Jan begins to see how much of his life has been steered by others, and the respite offered by the hospital becomes a crucible where he tests what he truly wants.
Only Jan's son Jakub Jakub Kohák and his son-in-law Erik Ondřej Malý know the truth about his situation. Erik is married to Jan's daughter Olinka Tatiana Dyková, a relationship that becomes a focal point as the family dynamics unfold. Olga, and her mother, push to shape Erik's life in the same way they have shaped Jan's, maintaining a grip over decisions and freedoms that affects everyone around them. The tension between control and space sits at the heart of the family’s conflicts, and the film steadily charts how power can be exercised through everyday choices as much as through outright manipulation.
Pepík, meanwhile, is happily married to Alena Pavla Beretová, a contrast to the other women in the family. Alena’s easygoing approach to life and her capacity to give Pepík room to breathe highlight the film’s quiet meditation on personal boundaries. The couple’s happiness stands as a counterpoint to the rigidity that pervades parts of the extended family, underscoring the value of consent and personal space in relationships, even when external pressures push in from all sides.
Erik and Jakub begin secretly meeting Jan on weekends, stealing moments of connection that keep the old man grounded. Their treks to the hospital are not just visits; they become lifelines, reminders of the ties that keep a family from dissolving entirely. The women grow suspicious, and Olinka responds by installing an app on Erik’s phone that shares his coordinates with her, turning trust into surveillance and setting the stage for a dramatic reckoning that will redefine everyone’s place in the family.
The emotional needle of the story threads toward a turning point when the truth comes to light and Jan makes the decision to return home. Erik reacts with anger and leaves, while Olinka begins to see the consequences of her family’s controlling habits. She witnesses Jan’s candid confession about forty years of manipulation and comes to recognize the harm caused by trying to script another person’s life. This awakening also comes with a personal revelation as she observes Pepík and Alena’s happiness, which further influences her perspective on freedom and happiness.
Ultimately, Jan decides to divorce Olga and moves out, a choice that signals a hopeful shift in the family’s dynamics. Olinka helps by providing him with a houseboat that once belonged to Olga’s father, ensuring he has a secure place to live and a sense of independence. This gesture helps repair her relationship with Erik, who begins to see a future where his own life can be lived on his terms rather than under the weight of others’ expectations.
Olga, for her part, delivers a sharp lecture about divorced men being unable to be happy while divorced women can still enjoy life, a moment that exposes the irony of appearance versus reality. The film closes with a tender tableau: Jan, now free to enjoy time with Erik and Olinka, raises a toast to Jan’s father-in-law, a small but meaningful gesture that underscores the film’s core message—that true happiness often comes from choosing one’s own path and nurturing the relationships that matter most.
