Immediately at the film’s beginning we run up against a boundary stone, a relic of a past age, made of nearly indestructible granite. In the middle of a forest which seems idyllic in the twilight, it marks an otherwise invisible division: Bavaria on one side, the Czech Republic on the other. Johannes Holzhausen’s Woman’s Day is a documentary miniature that begins at this place. It clearly portrays the fault lines of history in the circumstances of a family and individual lives. A grouchy old man. A woman who was abruptly separated from her lover. A son who disappeared into the underground for ten years. They are the protagonists of an arrangement centered on borders, borders that still have an effect even if they are no longer officially recognized-as immobile as if they were made of granite.