Two theatre troupes rehearse Aeschylus. A young deaf-mute wants to uncover a mysterious secret society. A young woman seduces men in order to rob them. As the characters’ paths crisscross throughout the film’s puzzle-box structure, a portrait of post-May ’68 Paris and its dashed dreams emerges. First two episodes.
Inhabitants of a small village in Hungary deal with the effects of the fall of Communism. The town's source of revenue, a factory, has closed, and the locals, who include a doctor and three couples, await a cash payment offered in the wake of the shuttering.
A yellow cab is driving through the vibrant and colourful streets of Tehran. Very diverse passengers enter the taxi, each candidly expressing their views while being interviewed by the driver who is no one else but the director Jafar Panahi himself.
Karrer plods his way through life in quiet desperation. His environment is drab and rainy and muddy. Eaten up with solitude, his hopelessness would be incurable but for the existence of the Titanik Bar and its beautiful, haunting singer.
An elderly heiress is killed by her husband who wants control of her fortunes. What ensues is an all-out murder spree as relatives and friends attempt to reduce the inheritance playing field, complicated by some teenagers who decide to camp out in a dilapidated building on the estate.
The concurrent sexual lives of best friends Jonathan and Sandy are presented, those lives which are affected by the sexual mores of the time and their own temperament, especially in relation to the respective women who end up in their lives.
David Sumner, a mild-mannered academic from the United States, marries Amy, an Englishwoman. In order to escape a hectic stateside lifestyle, David and his wife relocate to the small town in rural Cornwall where Amy was raised.