Monday (2026)

His universe has shrunk to four gray walls, a cup gone stale, and the strangers he sketches from the bus window—each face a line in his notebook. He’s not living; he’s just biding time until Monday, the day he’s convinced his real story starts. But when Monday finally shows up, it refuses to leave. What follows is a mind-bending descent into obsession, where the eerie stillness of a post-Soviet town collides with the clawing dread of a psychological nightmare. This is a film about the trap of waiting for a life that never arrives—until it does, and won’t let go.