Audrius Mickevičius puts the horribly disfigured face of his murdered brother at the start of his film. It is almost a meditation about the question whether a final act like murder can be atoned for in a temporal order – and whether the passing of time allows the victim’s family to forgive. Mickevičius uses the example of two lifers (one of them gets married and wants to have children, the other pours his whole passion into an idea of craftsmanship) and a philosopher with prison experience to make that strange state of suspended life comprehensible.
Is anything changing in life when in a film your characters death, mourning the loss of beloved one - parents, children is played? In Life After Death, this question is posed in different forms to three generations of actors.
Lina, a Vilnius morgue medic who becomes fascinated by the mysterious disappearance of a sailor named Vilkas. Her obsession leads her to eerie places and disturbing encounters. The clock is ticking as Lina searches for the missing man.
