Филмът разказва за живота на художника Владислав Стшемински, харизматичен и обожаван от своите ученици преподавател в училището за изящни изкуства. Но животът на художника се променя, когато Сталин поставя ръцете си над Полша през 1945 г. Стшемински отказва да компрометира изкуството си с доктрините за социален реализъм. Преследван, изгонен от университета, той в крайна сметка е изтрит от стените на музеите. С помощта на някои от неговите ученици Стшемински започва да се бори срещу партията и става символ на художествена съпротива срещу интелектуалната тирания.

Arguing that advertising not only sells things, but also ideas about the world, media scholar Sut Jhally offers a blistering analysis of commercial culture's inability to let go of reactionary gender representations. Jhally's starting point is the breakthrough work of the late sociologist Erving Goffman, whose 1959 book The Presentation of the Self in Everyday Life prefigured the growing field of performance studies. Jhally applies Goffman's analysis of the body in print advertising to hundreds of print ads today, uncovering an astonishing pattern of regressive and destructive gender codes. By looking beyond advertising as a medium that simply sells products, and beyond analyses of gender that tend to focus on either biology or objectification, The Codes of Gender offers important insights into the social construction of masculinity and femininity, the relationship between gender and power, and the everyday performance of cultural norms.

The film depicts one of the most terrible and painful problems of Georgian reality - drug addiction. The heroes gradually lose their perception of reality and time. Everyday life becomes unbearable and unbearable, eventually the heroes will face the harsh reality.