Back in 2020, as I was preparing a documentary series on gender inequality, an actress came forward about her abuse. Rumors of who that man could be quickly infiltrated our circles. At first, I started wondering if it was someone I knew or worked with, but then also - what would I do if it was my friend or my father? What did Harvey Weinstein tell his wife on the day the news about him broke? Did she know? And if yes, why did she hide from the reality? The question of what makes one a bad feminist is the one that shaped my main character, IRINA. She is driven and successful and views her mother and sister as patriarchal. But as the image of her father begins to crumble, it becomes unclear if she is looking for answers to get to the truth or save her career. This crisis takes her on a much deeper quest - can you truly be a feminist if you don't accept the women around you, regardless of how flawed they are? And what if that judgmental eye is one you inherited from a father whose character is on trial? As I am portraying the world of an upper-middle-class family that finds itself both under attack and a stranger to a nationalistic city, I want to keep them in places where they feel safe - their own homes. It is when Irina’s world bursts that we see the city for the very first time - in its nightlife sweat and dirt. Before that, she moves through it in her expensive car, but the zoom lenses hide the surroundings. The controlled camera movement and wide angles will bring out the unease and invite the audience to inspect these characters in their aquariums. To avoid a dry and commentary approach, I would contrast these with dynamic, realistic dialogues and close-ups that keep us connected to their inner turmoils. It is a film that starts off as a “who-done-it” only to turn into a contemporary family drama that faces cancel culture.