Writer, playwright, columnist, screenwriter, film and television director Goran Vojnović is one of the most prominent names of contemporary Slovenian art and culture. He has written three award-winning novels – Southern Scum Go Home!, Yugoslavia, My Fatherland, The Fig Tree, and most recently, Đorđić Returns (2021). His first three novels have all been adapted for the stage to popular and critical acclaim. For theatre, Vojnović has also written a comedy Tak si and Reisefieber, a play about the topical phenomenon of contemporary refugeeism, produced by our theatre and the Prešeren Theatre Kranj. 
14 Days is a play about the time of the epidemic and its impact on human destinies. As the title suggests, the action begins and ends in 14 days. Each day begins with a chilling report on the number of people infected, hospitalised, seriously ill and dead by the pandemic disease. This is, of course, not ordinary 14 days, but 14 days of quarantine captivity. A husband, an internationally renowned theatre director, returns home as his rehearsals of a new play in Spain have been disrupted, and he is ordered by the authorities to quarantine himself for two weeks. Initially, he wants to isolate himself at a family second home in a winter resort of Kranjska Gora, but as he is not allowed to travel between municipalities, and is thus forced to stay at home with his wife. During this unrelentingly measly time, which the couple are forced to spend with each other after a long separation, the many cracks in their relationship are revealed. Fears of the future, of the unknown, of loneliness and of finality overwhelm them both. Yet their life paths seem to be like straight lines that intersect in a moment of quarantine, making their transience inevitable. 
Many trials and tribulations we are faced with in these distressing times are perhaps most visible and fatal precisely in the realm of family interpersonal relationships. Alliances that have long been a mere veneer begin to crack at the moments of crisis, making alienation and emptiness deeper and more intense. Vojnović cleverly detects the emergence of a pandemic that affects the hardest the smallest social unit. Using a topical and occasionally witty dialogue, he uncovers what we are like when we are denied the stress and strains of everyday life, as well as our deep-seated archetypes, our desire to run away from ourselves and our neighbours, and how we take refuge in places where we feel better, and the fact that many people live without their truth ever coming to light. However, the epidemic should perhaps also be glimpsed from an optimistic point of view, as a phenomenon that exposes the lies and glorifies the truth. 

The trials and tribulations of the epidemic are perhaps most fatal in interpersonal relations within a family.