No

Audrius Mickevičius puts the horribly disfigured face of his murdered brother at the start of his film. It is almost a meditation about the question whether a final act like murder can be atoned for in a temporal order – and whether the passing of time allows the victim’s family to forgive. Mickevičius uses the example of two lifers (one of them gets married and wants to have children, the other pours his whole passion into an idea of craftsmanship) and a philosopher with prison experience to make that strange state of suspended life comprehensible.

It seems that his life is finally moving in the right direction and he will soon be able to enjoy a happy life with his beloved Greta. But soon everything turns upside down. After returning from his honeymoon, Robert is caught up in a whirlwind of misunderstandings and unexpected situations, during which his beloved disappears. What can't you do for your sweetheart and your mother? This time he has an "almost" impossible mission.