A mother tries to leave her memory of being a victim during the war in Timor Leste. A daughter tries to secure herself under a marriage. They are trying to find the real meaning of freedom. Maria is one of the female victims of sexual violence in Timor Leste in their dark years of independence. She sees that such possibility can happen as well to Flora just because of a bride price.
After a fateful meeting of a widow and a young entrepreneur with Alzheimer's, friendship between the two blossoms following the man's request to make traditional mooncakes.
Tantra and Tantri are inseparable. When they secretly steal eggs from the family’s sacrificial offering, Tantri always gets the whites and Tantra the yolks. One day, however, the yolk is missing, as is Tantra. Her brother gravely ill and in hospital, Tantri starts slipping into magical parallel worlds, approaching the inevitable farewell through costumes, body paint and dance. When at one point Tantri’s mother washes the paint from her face, it is as if tenderly to expel the illusion that things can remain as they are. In long dream sequences and against the background of the Balinese philosophy of sekala – the seen – and niskala – the unseen – Andini relates how one ten-year-old girl deals with parting and grief.
Set in Indonesia's Dutch colonial era, in 1927, a young and beautiful woman lives with her sick and aged Dutch husband. This woman loses her own name and is called Njai, which means a foreigner's concubine, and realizes that she is living in a kind of prison, while she deals with loads of visitors to her residence. Director Garin Nugroho shows in a distinctive way how much effort a woman, deserted both by the colonial country's law and the colonized country's traditional culture, puts in to retain her dignity.
