The rules in rural Poland are clear: Every man must have a woman; every dancer must have a female dancer. The pubescent Miłosz feels safe here, especially after his mother’s death. His sister Agnieszka, who is in a long-distance relationship with her friend Majka, does everything to obtain custody of her little brother. Gradually, a new family model is revealed, documented by Marek Kozakiewicz as an attempt that is as restrained as it is determined.

The windmills behind the houses rotate steadily, standing in place, signalling stability. But the lives of Miłosz and his 35-year-old sister are in turmoil. They are facing a red-tape marathon to make Agnieska his legal guardian: Both have been orphans for a few months. Director Marek Kozakiewicz depicts the establishment of a new family no one expects much applause for in conservative Poland. Because for Agnieszka and her partner, who is ten years older, the determination to try living together manifests tentatively. Without kisses, without celebrations, the decision almost casually becomes reality – the women are exploring the boundary between platonic tenderness and enforced secrecy. And Miłosz, too, seems to realise only slowly what the relationship between Majka and Agnieszka really is.

Two sisters travel to the realm of clouds on a paper plane. They are looking for the big tree with the golden leaf. Their plane has to be mended again and again, and the big sister is worried. When she falls ill, the little sister takes control. Slowly they get closer to each other and their goal on this arduous journey.

Born blind, the hero of this film turns seven before he begins to see images from the past that soon follow him like a curse. Like the stars in the night sky, what he sees has often long since passed away and gone out. In this tragic masterpiece by the directing duo Kijek/Adamski, the almost tangible pastel-coloured cut-out technique of the present-day narrative contrasts with delicate black and white 2D animations that represent the shadows of what is lost.