In a box-shaped cell lives a group of sleeping flatheads. One day, a child with a circle-shaped head is born. He wakes up his fellow countrymen with an excessive will to live. The article discusses the multi-award-winning The Box (Celica, 2017) by Dušan Kastelic in the context of his oeuvre, it questions his stylistic approaches and, through the prism of parenting styles, deals with the socially critical charge of the film and its anti-capitalistic stance.

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