Irmena Chichikova

격동의 시기였던 불가리아 1990년대. 사회주의에서 자본주의로 넘어가는 혼란의 시기, 많은 젊은이가 방황하고 마약 중독에 시달렸다. 싱글 맘이면서 마약 중독에 시달렸던 베셀라 토테바도 그 중 한 명. 그녀가 진실한 행복의 길을 찾아가는 이야기.

A single mother, wanting to protect her eight-year-old son from pain, lies to him that his dad is away with the Antarctic expedition. But postponing the confession about the father's death, causes damage to her and her son.

비좁은 기찻길에 늘어선 빨랫줄, 은퇴를 앞둔 기관사 ‘눌란’은 기차에 딸려온 물건의 주인을 찾아주며 하루를 마무리하곤 한다. 여느 때와 다름없이 기차를 청소하던 날, 그가 기차 앞머리에서 발견한 것은...? 하늘색 레이스 브라...!

누군가가 자기 몸을 만지는 걸 견디지 못하는 여성이 다른 이들로 인해 자신의 한계를 깨뜨려 나가는 이야기

8 minutes and 19 seconds – that’s all the time we have until the news about the death of the sun reaches us. That's what it takes for the light to travel from there to here. And then the darkness comes… But the theme of this Apocalypse is not necessarily going to be expressed through a global cataclysm, horsemen of the apocalypse, angels of death, fire and destruction. It will rather be shown as something very personal, intimate and almost silent.

The story of Omnipresent is centered around Emil, writer and owner of advertising agency who gradually becomes obsessed with spying on his family, friends and employees via hidden spy cameras. What starts as an innocent hobby ends up as a total disaster, as in the process he abuses his new power and eventually comes to realize that some secrets should be left uncovered.

Dreaming of the West, Boryana is determined not to have a child in communist Bulgaria. Nonetheless, her daughter Viktoria enters the world in 1979, curiously missing a belly button, and is declared the country’s Baby of the Decade. Pampered by her mother state until the age of nine, Viktoria’s decade of notoriety comes crashing down with the rest of European communism. But can political collapse and the hardship of new times finally bring Viktoria and her reluctant mother closer together

Through two unique female personas the film suggests a metaphysical idea of the present as ever recurring, since the temptations, which the human soul faces, are always the same. But any choice can be made only after the experience of the past is passed on and shared with a kindred spirit in the present. Such is the nature of the relationship between Adriana, the femme fatale of 1938, and the innocent Yura of 2008.

Two estranged brothers are brought together when they have opposite roles in a racist beating: while Georgi who's recently joined a neo-nazi group participates in the violence, Hristo witnesses and rescues a Turkish family. Only by reuniting will the two brothers be able to assess what they really want from life.