A painter (Kamal Addaraarachchi) has a girl that calls him uncle. She asks for his consent to marry a rich boy. He opposes by saying rich men only care about money. Then he relates his past to the girl. Then the story moves to a flashback. The painter has had a relationship with a girl from a rich family during his youth. He meets her in an art gallery and then gradually develops a relationship which culminates in making her pregnant. Then she requests him to meet her parents and she lies to them that he is a wealthy and rich person. In disgust, he leaves her. Then, after a long time, he finds out that she had lied to marry him. In other words, to get her parents' consent. He ultimately finds that the boy in the story is his son and his fiancée had died at the time of delivery. At the end of the story he commits suicide. At the end of the film the girl finds the painter dead on the floor.

Some are called heroes, some villains. Histories get buried and the dead are resurrected. Sometimes a thread of humanity gets drawn from blurred stories. It could clothe the world one day or stitch together a fallen flag.

Three friends embark on a journey to a land that was once forbidden but a sudden encounter forces them to return to yet another land of turmoil and terror.

An embarrassing problem emerges in a quiet household somewhere in a province of Sri Lanka. The patriarch of a lovely family suddenly dies in front of the TV one fateful night. He experienced something soulfully romantic before his last breath and the most sensitive part of his deceased body still functions without pulse or blood pressure. His two grown sons and a mourning mother are eager to bend down the standing organ to avoid shameful reactions at the funeral.