In 1992, Olga Sommerová and Jan Špáta discovered the thief Máňa in the yard of the Pardubice prison. After ten years, Olga Sommerová revisited the story of the protagonist and followed it for a long period of time. The camera saw Máňa’s repeated prison stays and releases, her court trials as well as the visits to her childhood places, meetings with her mother, contacts with institutions, moments of joy, love and deep emotional downs. Sommerová captures the cycle of incorrigibility, hope and love, in which Máňa displays the extremes of her personality, from laughter to tears, offers her own peculiar philosophizing views and embodies the difference between internal and external freedom. In this film, Sommerová pursued the grim realism of the story much further than in her other works.
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