In contemporary sociological writings one can find an interpretation about conjugal infidelity, love affair or, however we may call it, being the only kind of rebellion left to a person against the predictability of life. Our life is quite delimited by our employers, our family, church, state, media and money. There is not much we can do about it, the values are deeply embedded and are quite unyielding. The only one left to change is the person we share our bed with. Today it is the adulterers that replace the revolutionaries, the rebels, the visionaries, the outlaws of yesterday. According to sociologists, the excitement of rebellion, the sweetness of breaking the rules and the danger of crossing into the unknown, is reduced to the adventure called adultery. In addition, they claim, all societies, more or less, allow it with tacit admission, in spite of public condemnation, and consider it the least of public risks.

On the other hand, the psychiatrists have being assuring us for decades that deep in the root of everybody's need to jump out of the annoying everyday life, in each archi-reason for the "creation“ or "rebellion“, lies a powerful, hardly understandable and barely predictable "sexual instinct“.

I have heard, as more or less we all have, countless stories about affairs, adulteries and incredible double lives. I have always explicitly admired, I have to admit, the fascinating energy and the amount of fantasy some people have invested into it. That were the "rebellious" and the "creative" peaks of their lives.

These three premises put together have led to my personal reason for making this film. I am in the age when it is good to get back where I started to tell film stories in the first place: on Zagreb streets, apartments and beds. Five stories about five middle-aged heroes that Ante Tomic and I open in the manner of "babuska", one layer containing yet another one, seem very close to this city, to this moment, to the life in it, and to me, for that matter.

I imagine this film to be a happy one, filled with life, dense in texture, brisk in camera, swift in narration and almost documentary in acting. It will be extremely open, at moments quite brutally, when dealing with one's privacy, trying to get under the skin, under the obvious. It will be a film with extreme close ups dedicated to the human face and with wide totals dedicated to the city, to the place where I was born and dedicated to the people I shared it with. Briefly speaking, it will be an urban film playing with everyday life with a purpose to leave a small mark along the road to tell something about us, here and today.