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Millionarie Ratanlal is an old man without an heir. He marries the rich, Western-educated Mohini. He has two managers, the sincere and faithful Dhairyadhar and the Anglicised crook Manhar. Mohini, bored with her marriage, falls in love with Manhar who embezzles Rs. 50,000 from Ratanlal's office and frames Dhairyadhar for the crime, who is imprisoned. Mohini's affair with Manhar develops and they decide to eliminate old man Ratanlal...
Piroberta wants to fulfill the American dream and live in the United States, to achieve this she plans to leave on her new motorcycle. Unfortunately the motorcycle is retained by the police and she doesn't have the money to get it back, so she turns to the witch Dioselina, who recommends certain types of jobs with which she makes a profit.
Set in 1981, the movie tells the story of Kars after the 1980 coup d'état. At that time, the region was covered in snow for months, and in addition to the many problems brought about by the coup, it was impossible to find coal. Coal was a blessing that only privileged people and some state institutions could access. Serhat, Gürbüz and İbo, three close friends, start looking for coal instead of playing games during the report card holiday following the coup. Their struggle for heating, one of their most basic needs, will turn into a story of solidarity that will shape their childhood.
On a rainy day a child folds a paper boat and puts it into a puddle. A heavy downpour leaves the small vessel sinking. Three Gutter Pirates take over the boat.
Toshiyuki and his wife, Chiyoko, run a store named “Fukunoya” in Fukuoka. They become friends with a takoyaki (octopus dumpling) stall owner named Tsuru and try to help her out, as does the rest of the kind-hearted community.
Ivan Ladislav hides a true chamber of wonders behind the clear, mathematically abstract structure of his films and videos, meticulously compiled rhythmically frame for frame, each work likewise presenting an analysis of the film medium. Concealed therein, culled from deep in the medium’s prehistory, are hermetic parallel universes in whose number ranges and symbolic spaces, Galeta’s precisely constructed film compositions find a formalist anchor.
