With music by The Cardboards, The Snakes, Hans Brinker and The Dykes. By combining semi-fictionalized and documentary material, this film is as definitive a record of the Pittsburgh punk scene during its nascent underground as anyone could hope for. Beroes' band footage is radical departure from the gimmickry of stereotyped rock band documentary in its use of pans and slow dollys, capturing small glimpses of the musicians at work that a 'PR' film would have avoided at all costs. The cinematography demands a reconsideration of the rock band documentary's hoary technical vocabulary. From the time this film was made changes have already taken place in Pittsburgh punk-dom as the bands have moved from an insular salon society to more 'legitimate' venues. Some say things are better than ever, others mourn the passing of Pittsburgh punk's innocence. Beroes in Debt Begins at 20 has produced not only entertainment, but also a small and very precious time capsule.
A middle-aged woman, traumatized from the death of her adulterous lover, moves into a room at a New Orleans boarding house where the blind landlord becomes suspicious to her activities of continuing her affair with her dead lover.
A New York University professor returns from a rescue mission to the Amazon rainforest with the footage shot by a lost team of documentarians who were making a film about the area's local cannibal tribes.
Following the events of The Sheriff and the Satellite Kid, Sheriff Hall and H-725 (using the official identity of Charlie Warren) still get no rest from the military: because the little alien has not yet grasped the meaning of keeping a low profile, they are constantly on the move, and H-725’s father has had to pick them out of a tight spot too many times already.