Two simpleminded women, Walentyna and her neighbour Katia – one is a widow of Walenty and the other his greatest love – meet up to talk about him at the pretext of his birthday. Their love for him has been unconditional and eternal. The very flat itself reminds of a mausoleum; each object carries a memory of him and brings the past back to life. A strange duel of these two creatures begins. They have the same weapon – the naked feeling of love. Piotr Jêdrzejas’ performance is an unsophisticated challenge of passing in the name of an absolute value – eternal love – which transgresses the boundaries of mortality, disregarding life compromises, relativity and various, particularly materialistic instigations that a soul does not exist. What a shame – wrote Jan Gondowicz – there is no soul and it aches…Unremitting love proves the opposite and brings two women unconsciously to God. Vipraiev’s drama is also a grotesque evidence of the heritage of the Imperial Russia and Soviet Union. There is Brodsky and Gusiev whose name was given to a crater on Mars. There is Gorbatchev and Valentina Tereshkova. And obligatory vodka, blinas and even Czechov’s rifle which waits to be fired. The spectrum of myths and icons forms the images of the dead time. It is only Walenty who grows in the hearts of Walentyna and Katia becoming an immortal titan. Is it comical? No, it is sincere and therefore even more true.