Have I committed a crime? Lamm cannot answer this question. But maybe it doesn't matter. After all, a mistake has been made, and now he can leave town. He thinks not of the chandelier, not of the look on the executioner's face in the tavern, but of the woman who slapped him the night before, the woman who now lies motionless before the wall, as still as a pebble. Is that the punishment? Lamm was pardoned. But the punishment only begins now, now, when the dead city disappears forever into the woods.

A naive young man witnesses an escalation of violence in his small hometown following the arrival of a mysterious circus attraction.

The 40 Labor [the manufacturer firm] as a faithful conservative reaches back – his generation only – to the tradition looking like the lost one. To the twentyfold years’ avantgarde, the ones of sixty filmlanguage-his narration revolution, to the seventy ones’ experimentation. And to the postmodern one which recalling was kept always, for which all this fits shakily under the world’s big umbrella, ( everything else – and the contrary of everything – too). Buharov brothers strong and effective pictures are dreamed onto the linen, their work lasts caught if we understand nothing from him. We do not recognise their world’s rules, we feel it though these rules his strength.

A series of terrifying accidents and brutal murders leave a bloody trail into the subterranean caverns of an Opera house. Below the theatre stalks a man raised by creatures of the underworld.

Based on a 1921 novel, a drama about a happily married couple whose young son unexpectedly dies, inevitably forcing the devastated duo to drift apart.

József Tógyer, the typical nobody, just wanted to buy some cloves for their New Year's Eve punch, but ends up as a hostage to a bank robbery gone wrong. In distress, he takes out life insurance, that makes his wife want him to die, while the insurance company wants to save his life. The local radio-station offers him a job and he gains surprising popularity, and finds new love.