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Hlavními postavami je mladá psycholožka Doubravka a vesnický mladík Honza Macháček. On je traktorista, který při ztřeštěné sázce dočasně přišel o řidičský průkaz, takže teď pase družstevní stádo krav, ona je na chatě se svým chlapcem Bobou, který nepříliš úspěšně studuje medicínu a právě se připravuje na opravné zkoušky. Honzova bezprostřednost, optimismus a přístup k životu i práci ostře kontrastuje se sobeckým, slabošským a nevyrovnaným Bobou a Doubravka si stále víc uvědomuje, že její cit k Bobovi zmizel a doopravdy má vlastně ráda Honzu. Otázkou je, jak se na takovou partii bude dívat její poněkud konzervativní rodina.
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Cyril Dadák (Václav Postránecký), a TV reporter falls in love at first sight with a young engineer Milena (Jaroslava Obermaierová) while he makes a reportage in a chemical factory. Milena has been dating for several years with a test driver Pavel (Rudolf Jelínek), however when she meets Cyril she feels that he might be the Mr Right. She accepts Cyril's invitation for a date and she spends a night with him. In the morning she finds in her flat Pavel. She wants to explain to him everything but Pavel makes coffee with a smile and gives her back the keys from the flat.
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A teenage witch, Saxana (Petra Černocká), frozen in time as a punishment for 300 years, finds herself in a modern world.
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An experimental retelling of the story of Adam and Eve which then progresses into an allegorical depiction of the loss of innocence.
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More than twenty years after the Second World War, a mining engineer named Fischer is revealed as a former member of the Gestapo, Karel Kraus. He is sentenced for murder to eight years in prison and now works with other prisoners on the renovation of the Convent of St Agnes of Bohemia in Prague. Then a car with a foreign registration begins to park regularly close to the construction site. Its crew, a man and a woman, contact the construction foreman, who probably would not reject a bribe offer to perform some service. The prisoner Bicík is appointed to work with Kraus; Bicík gives him a message from Kraus' brother Bert, who lives abroad, that he wants to help him escape.
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This three-part ballad, which often uses music to stand in for dialogue, remains the most perfect embodiment of Nemec’s vision of a film world independent of reality. Mounting a defense of timid, inhibited, clumsy, and unsuccessful individuals, the three protagonists are a complete antithesis of the industrious heroes of socialist aesthetics. Martyrs of Love cemented Nemec’s reputation as the kind of unrestrained nonconformist the Communist establishment considered the most dangerous to their ideology.
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In this zany Czechoslovakian comedy, a scientist invents a machine that projects a sleeping person's dream on a screen; disaster soon follows when the machine malfunctions and the cartoon-like dream characters become very real!
