Юлиана
This is a psychological whodunit. The action is tense and there are many ups and downs. Vas, a young militiaman, has to pose as a ex-prisoner and infiltrate an international gang of smugglers at work in Bulgaria. Vas is involved in shady deals: in a web for smuggling drugs. The traffic in drugs is perfectly organized, every one along the chain is being checked up and shadowed. An elderly gentlemen, a harmless nuisance on the face of it, turns out to be one of the bosses. Vas's role as a double agent, in doing his efforts to become a trusted man among the dangerous criminals, faces him with many trials and he risks his life on several occasions. And no matter how strange it may appear, it is among these people that Vas meets the girl he falls in love with. A beautiful girl is tangled in the traffic web. She also falls in love with Vas. Just like the audience, the girl Sunny is not aware of the true personality of Vas in the racket.
Pepi
Velko, Filip, Pavel and Gosho have different professions but are connected by the love they have for music. They rehearse all year to make it big on the sea resorts in the summer. The head of the cultural center where they play is willing to give them the musical equipment if they replace their singer Maria (Filip's girlfriend) with the attractive but untalented Reni. This is the first, but not the last compromise they have to make on the way to the dream.
A study in human psychology that uses five disparate characters from clearly defined social positions, this film offers as much insight into the society of a changing Bulgaria, as it does into the minds of individuals in conflict. The story centers around transporting a worker's corpse, in a truck, to the mountain village where he was born. In the truck is: a man who may be suffering from tuberculosis, and who has an unfaithful wife at home; a doctor (the intellectual); a bookkeeper worried over the salaries she pays out; a hermit picked up on the road; and the driver who is a rough-and-ready working-class symbol. The seeds for conflict are set both by the personalities of the five in the truck and by their social background. The director Christo Christov, acknowledges his debt to Henri-Georges Clouzot and the Wages of Fear, for inspiration in the treatment of human conflict, its development through a set storyline, and its resolution in each of the five cases.
