A world between the dreams and reality, between commonsense pragmatism and madness, between earthly gendarmes, priests, fair organizers on one hand, and children of God, to whom all our smartness is crazy, on the other.

Erjavec family (dad, mom, daughter, son) go camping in Slovenian Alps. Instead of a peaceful vacation, they end up involved in detective kind of story.

When a mysterious Frenchman appears in their small village, two gangs of sixth graders are reluctantly united to help find a buried treasure. Can they manage to keep the strife between them at a minimum and locate the booty?

The government, led by Vladimir Mercin, is being dangerously shaken by the “horse affair”. The opposition has already managed to win over some government officials to its side. Mercin’s men decide on a redemptive move: to stage his own fake kidnapping.

Marta finally meets her prince on a white horse, but the romance quickly becomes complicated when it turns out that her "Mr. Perfect" is actually a paid assassin on the run from the drug cartel that hired him, because he turned against them and is killing those who hired him. An additional complication is that an FBI agent who is trying to bring him to justice gets involved in the story, so Martin is a prince on a white horse, but in reality he is a paid assassin on a white horse who is fleeing from the law and his clients.

Erjavec family goes to picnic on Velika Planina, but instead of having peaceful vacation, they end up in a haunted cottage and fall into series of adventures.

The city of Maribor before the Second World War, and Maribor after its liberation mark the period in which the film Cafe Astoria is set. The story relates with a gentle melancholy and a slight irony the lives of a middle-class family: the cafe owner, his wife and their son. Through their individual destinies we become acquainted with the social and historical background of a by-gone era; the social and national differences of pre-war Maribor, divisions among the wealthy and poor, and nationally minded Slovenes and fanatic Germanophils. The first year after the war introduced the absurd characteristic cruel measures of the so-called revolutionary social transformations in which calamity and coincidence intervene, resulting in events of comic nature, of course, as seen from a safe distance of fifty years.

A young boy is on vacation at the beach with his family. He becomes bored and wanders onto the set of a television production about pirates aboard a ship.

A young soldier enters a conflict with his superiors and because he does not get the exit for the May Day holidays, he decides to escape. The escape of the weapon is a serious offense, and because there are no routes back to the barracks, the fate of the violence that leads to a bloody bribe begins to unfold. The story goes back to the time of the Chernobyl nuclear catastrophe.