奴奴，一个英俊的威尼斯大学摄影课教授，与父亲同住。父亲也是退休教授，现瘫痪在床，由一性感女护士照料，母亲早已去世。奴奴小时候，母亲常穿着薄如蝉羽的睡衣在他面前走动，更有一次曾偷窥到父母激情做爱，——这导致奴奴有严重的恋母情结和偷窥嗜好。奴奴已经结婚，妻子叫苏菲亚，一个长相极似奴奴母亲的姑娘。但婚后苏菲亚却坚决不住奴奴家里，而奴奴也不愿意抛弃生病卧床的父亲——两人只好分居了，感情也出现了裂痕。一天，正在查找资料的奴奴听到父亲房里有动静，透过气窗发现女护士正在卖弄风骚，与父亲调情，奴奴迷恋地偷窥着……

A directorial work from Slawomir Idziak, acclaimed cinematographer best known for his work with Kieslowski on A Short Film About Killing, The Double Life Of Veronique and Three Colours Blue. His highly distinctive visual style and extraordinary use of colour and filters is in full effect here, as evinced in the screenshots - shifting between tinted black and white and filtered colour (mixed with video and images refilmed off television screens), the cumulative effect is both expressive and poetic.
The film concerns astronaut Enak Charles, who, posted in space, refuses to return to Earth without giving any reasons for his decision. The world is plunged into political crisis - the biggest since the Cold War. Sensation hungry reporters begin to exploit the scandal, tracking down his former wife (the luminous Irene Jacob, with whom Idziak worked on The Double Life Of Veronique) and examining his past in communist Poland. Idziak chose the title of the film as an homage to "Citizen Kane" ("Enak" is simply "Kane" read backwards), also a favourite film of the late Kieslowski. The construction of the scenario also recalls Welles' masterpiece.