In Slet 1988, dancer Sonja Vukićević, aged 74, moves through socialist-modernist spaces; her body is an archive of the last mass performance in Yugoslavia. Her gestures echo past rhythms and present realities, intertwining with a 1988 teenage girl’s diary to reveal the shift from socialist collectivism to rising individualism, while a new national collective body is creeping in and will soon shape the future of the country.