Georges Goldfayn

Prague, 1920. Milena's father wants her to follow in his footsteps and be one of the first female doctors in Czechoslovakia, but she is determined to be a writer. She elopes to Vienna with the Jewish music critic Ernst Pollak, and starts a correspondence with Franz Kafka. She leaves Pollak and returns to Prague with her father, where she befriends and translates Kafka. As a journalist, Milena covers the 1923 Ruhr worker's strike and meets the communist architect Jaromir.

A tribute to Mallarmé that not only asserts the continuing relevance of his work but also confronts its literary ambiguities with political and cinematic ambiguities of its own. In outline, the film could not be more straightforward: it offers a recitation of one of Mallarmé’s most celebrated and complex poems (it was his last published work in his own lifetime, appearing in 1897, a year before his death) and proposes a cinematic equivalent for the author’s original experiment with typography and layout by assigning the words to nine different speakers, separating each speaker from the other as she or he speaks, and using slight pauses to correspond with white spaces on the original page.

A troubled young woman who lives alone in a rundown house meanders around and one day reveals a hidden talent when she goes into a bar, plays magnificently at the piano, and leaves as mysteriously as she came. Meanwhile, an unidentified man is on her trail and eventually tracks her down to the bar she had visited. As the dragnet around her closes in, it becomes apparent that the young woman's stepmother is behind the effort to locate her. But questions over why she is hiding out and what she is hiding from begin to take on more importance as the history of the young woman starts to surface.