PRIMAVERA intends to introduce the topic of women's position in modern Montenegro, while at the same time dealing with mechanisms of the patriarchy that potentially lead to one of the biggest problems in our society - selective abortion. Around 1000 intentional and selective abortions are performed yearly in Montenegro for reasons such as unplanned pregnancies and the baby’s sex. It follows the story of an average, middle-class family from Montenegro that doesn’t make their decisions out of necessity but out of credence. We go through three storylines about women: MARINA, a mother, admits she has never enjoyed life, led by her own bad experiences, she paradoxically preserves the patriarchal ways of treating women; SONJA, her daughter, a progressive, educated woman, who cannot expect any sort of support from her family because men are the ones who need to be taken care of and who are allowed to do as they please, and lastly ANA, a young woman who is expecting her first child while experiencing emotional abuse where everyone is trying to convince her that the only right decision is to expect the birth of a male child. The male character is DEJAN, a son, a brother, a husband and a father, but he is incompetent for any of those roles. The story is imagined as a triptych, with the same characters in three different situations. Besides the characters, the three stories also connect lyrical camera movements above the lake and the thickets surrounding it, combined with abstract sounds resulting from real locations (it will be a mixture of manipulation of nature sounds and the background music in the film). An important element in the story will be the indication of time passing through changes on the estate where everything started. In the first story, the construction of the family house has barely begun. In the second part of the story, the house is halfway built, and in the third part the house is complete, but the family is not.