The cycle of paintings is loosely based on the motifs of Béla Tarr's film Satantango, which serve here not as a story but as a starting point. The figure of Estike, a child on the edge of the world, opens up questions of perception, deception and the loss of illusions. The world is fragmented, closed and dreamlike. The blue and cool tones reinforce the impression of disembodiment and the transition between reality and dream.

The paintings of Ales Brázdil do not work with story as a linear narrative. They stop at moments that cannot be easily explained - at states where it is not yet (or already) clear what is actually happening, but it is clear that something is happening to us.