The plot is based on the Norse myth of the god Baldr (Sergey Udovikov), son of the great Odin. Rather than a retelling of an ancient tale, it offers a contemporary perspective on the myths regarding the rebirth of the gods.

The gripping story begins when three young men discover the ancient grave of an unknown warrior in a forest. They attempt to unearth the burial site using incantations to resurrect him. However, their efforts prove futile—the earth holds the warrior firmly, refusing to let his peace be disturbed. Seeking answers, the youths set out to consult a mysterious and powerful enchantress.

Upon meeting them, the seer immediately realizes the truth: the soul of one of the young men once belonged to the warrior resting in that grave—her own son. Killed by a lover's betrayal and consumed by a thirst for revenge, the enchantress's son defied the laws of the Universe to be reborn as a mortal.

Baldr’s father, Hjarvard (Ragday Oleksandr Tymofieiev), strives to raise him as a true warrior. He teaches his son life principles and the art of weaponry, preparing him for the great battles approaching in Midgard. Hjarvard is convinced that magic is a pursuit for women, believing a real man must rely on strength, courage, and combat mastery rather than spells.

But as the past begins to stir, the boundaries between the worlds of men and gods blur, and forgotten oaths once again demand retribution. Baldr must face a choice: follow the path laid out by his father or embrace his true nature to finish what was started and restore balance to Midgard—even if it means challenging the gods themselves.

During the Second World War, the Kiev Film Studios evacuated to Ashgabat, a city that would provide shelter to many Soviet filmmakers. It is here, thousands of kilometers from the front line, that one of the most famous war films in the history of cinema – Rainbow (1944), directed by Mark Donsky, is created.

It was from this tape, as the founder of Italian neo-realism Roberto Rossellini acknowledged, that a new direction in the history of cinema emerged. Japanese filmmakers Akira Kurosawa and Kendzi Mizoguti argued that after watching the movie, Donsky figured out exactly how to shoot the movie and created his own unique style in art. The Rainbow caused a stir in Hollywood, with American critics recognizing it as the best foreign film of 1944.

At the heart of the picture are the memories of the participants of those events. The filming of the film was attended by the children of the workers of the Kiev film studio who were in Ashgabat: Emma Malaya, Alexander Letichevsky, Larisa Kadochnikova, Vadim Alisov, Alexander Donskoy, and the workers of the Ashgabat film studio Maya Kuliyev, Rosa Kuliyev.

USSR, 1979. Security guard Peter Bublik says goodbye to his wife Maria and little daughter Zhenya and goes on duty. It is late evening, and there is nothing unpleasant. Peter notices a suspicious glow from the window. He goes outside and sees a UFO hanging in the sky. The man loses consciousness, but soon regains consciousness. Bagel discovers that the world has changed significantly. The security guard buys a newspaper from a newsstand and learns that he has moved to the future in 1992. The USSR no longer exists, and it is in independent Ukraine.

Peter goes to his wife. Mary remarried. She is not happy about his unexpected appearance and does not believe in a story about time travel. Maria chases the uninvited guest away. Then Peter decides to find Zhenya, who has recently fled from her home to the city. This task is complicated by the fact that not only the world has changed, but also the concept of people about the norms of morality and morality. Meanwhile, the naive Zhenya falls into the tenets of professor of parapsychology Tadeusz Hook, who plans to use the girl for his treacherous designs ...

A woman's support is a reliable male hand. One woman's life comes at a time when she agrees to at least one hand. Literally. One male hand. Moreover, in connection with the fictitious but painfully believable character, we can follow from all the metaphorical short-lived relationships between a weak and not very strong article.

The film is part of an almanac of short films Lovers in Kiev.