Set in 1983, behind the Iron Curtain of Eastern Europe in Budapest, the film follows Frank, the charismatic singer of a banned punk band that carries the voice of their generation against a totalitarian regime. Taken to the police psychiatric hospital in an attempt to silence him, Frank will sacrifice everything to resist.

It's been five years since Terry's friend Glen discovered The Gate to hell in his backyard. Glen has now moved away and Terry begins practicing rituals in Glen's old house and eventually bringing back demons through The Gate and leading to demoniac possession and near world domination.

In the Kerepesi Street cemetery, three grave diggers contemplate the fate of the world, then they step out of this role and in a sequence of episodes they play the typical figures of contemporary Hungarian reality, the fat cat, the swashbuckler, the victim, underworld chieftains, and present little absurd dramas of love, marriage, friendship, public order and legal safety. The author and the film director walk among them all the time, contemplating, laughing at their plays. The stories starting from the graveyard and returning there warn of the inevitability of death. The author and the director (Gyula Hernádi and Miklós Jancsó) wisely make friends with death.

A post mortem photographer and a little girl confront ghosts in a haunted village after the First World War.

The 22-year-old Antal is a member of the hated political police. In October of 1956, during the revolution in Budapest, he escapes the wrath of the people by fleeing to the countryside house of his aunt, a Holocaust survivor. Aunt Sára tries her best to mother him and divert the attention of battered Antal with an old favorite song. When the Soviets launch an attack against Hungary on November 4, Antal is determined to join them in order to get his revenge. But Aunt Sára’s song keeps ringing in his ears, no matter how hard he tries to push it away. He has an unbearable earworm. When the time finally comes for vengeance, his earworm gets the better of him. The song becomes a macabre dance of death...

When a runaway prisoner’s taste for power wipes out his mission to lead his fellow inmates to freedom, their path to a much-desired liberation steers them to a new kind of oppression. Zenith uses dance language to illustrate the power dynamics that have shaped the political landscape in recent decades, not only in Europe but also around the world.