This is a movie about the start of people's uprising in Montenegro in World War II. After the capitulation of the Yugoslav Royal Army in April 1941, the Italians managed to infiltrate their puppet regime in Montenegro. However, people dissatisfied with the new authorities, on July 13, 1941 decided that the Communists led start to fight for freedom.

In the Romanian town of Craiova, five hundred elderly people are passing their days in a home, for which they pay with their paltry pensions. Every day looks the same, every activity is predictable. Even the people‘s complaints are part of the daily routine. One of the residents hopes in vain that a lottery ticket will bring him refuge. For six days, filmmakers Andreea Paduraru and Cristi Puiu try to get through to these people, who are carrying their whole past on their backs. To the question what the best days of their lives was, nobody can or wants to give an answer. Nearly everyone immediately starts about the day-to-day worries and problems in the home. Finally, one woman tells about her activities as head of the research department of the government of Ceausescu, with whom she once had an argument. Another resident recalls his time as a soldier in World War II and proceeds to the order of the day.

What is this flame that compels Don Giovanni to seduce, subjugate and conquer women one after the other, with the fervour and cold indifference of a predator securing his prey; to pursue through his conquests some obscure and ever‑elusive objective? For his second collaboration with Da Ponte, Mozart was to brand the history of opera with a hot iron and forever haunt European culture. In this Libertine Punished, Kierkegaard invites us to hear “the whisperings of temptation, the whirlwind of seduction, the silence of the moment”. The Mozart-Da Ponte cycle continues with a Don Giovanni entrusted to director Ivo Van Hove. In the wake of Boris Godunov, the director, accustomed to examining the political meaning of works, presents his second production for the Paris Opera.