The film contains three parallel stories, loosely intermingled: Batya, a waitress at a catering company employed at weddings, who appears to be lethargic after parting with her boyfriend, at a beach meets a mute 5-year-old girl and resolves to take care of her. A newly-wed couple is forced to give up their trip to the Caribbean and to spend their honeymoon in a noisy hotel in Tel-Aviv. A Philippine nurse misses her son, whom she left at home and she looks after a gruff elderly lady, mother of an egocentric actress... (...)
Jellyfish (Meduzot) are often included in the cinema of magic realism (photos come to life, the girl seems almost a product of Batya's imagination than a real being etc.). I prefer the expression "poetic" - and this is artistic poetry, avoiding aggressiveness and embedded in the ordinary.
Paweł Mossakowski, Gazeta Wyborcza