Shrimps, Switch, Cigarette Stub, and the Small Bottle

The film is imbued with symbolism, multilayered narrative, and unconventional humorous dialogues. Each object and dialogue in it are not just present but carry deeper meaning and are connected by an invisible chain. The plot is constructed on the edge of "real" reality, dreams, "reality within reality," and allegory. The film is divided into two parts. In the first half, the main heroine is Pelya - a sister whose character is marked by madness, unconventionality, adventurous spirit, and a lightness towards new experiences. Pelya is a generator of new interesting, fearless ideas, while Gafa, more sensible, calm, and affluent, agrees to everything Pelya suggests. In the first part of the film, they embark on a nighttime journey on a motorcycle to a quarry, where (if one is an attentive viewer) it becomes clear that they are in a dream. Pelya's death at the end of the first part is symbolically portrayed as the image of an old moon. After this, the audience enters the second part - the "wandering" and experiencing of grief by the other sister (Gafa), who now becomes the "new" main heroine. The resolution involves her growth and the solitary experience of everything she learned from Pelya. Gafa, although in a state of madness and profound grief, finds strength within herself and takes on the traits of her sister. Thus, Pelya will live but in a different body. At the end of the film, there is uncertainty about whether Pelya really existed, or if the events shown in the film occurred only in Gafa's mind, or if they became distorted modifications of reality in her imagination. One thing can be said for sure - the film begins and ends with similar, slightly altered theatrical-poetic scenes, indicating a "movement in a spiral." Tomorrow will be a new day, and you will feel the same, but still a little better.