Vesna Trivalić

Sultana and the bootmaker's wife Pela looks very much like each other, with replacement clothing and residence, Sultana becomes Pela and Pela becomes Sultana. The consequence of disguise is that the Sultana are undergoing torture from Pela's husband which changes her nature, which makes positive impact on her environment. The script abounds with musical numbers that contribute to the atmosphere, establish era and the place of action, and in this play bring vaudeville jollity.

An impoverished Russian aristocrat spends his days in a fashionable German town waiting for news from Russia about the death of his rich grandmother, so that he can repay his debts to a troubled French adventurer and marry his troubled cousin. His stepdaughter Polina also expects the inheritance.

An exiled filmmaker finally returns to his home country where former mysteries and afflictions of his early life come back to haunt him once more.

Miljenko, a successful Croatian businessman, receives the news that his company has just filed for bankruptcy. Things seem to be looking up, however, when his daughter announces not only her engagement, but also her pregnancy and upcoming nuptials. The only caveat? The love of her life is none other than the son of the Serbian prime minister.

At the very entrance of Boka Kotorska there is fortress named Fortica, which served as border control or quarantine in the past when ships used to dock in the bay. The most common goods taxed was salt. Its geographical position was significant during 1920s as well, while some speculate that the main hero of this story, Perisa, accumulated his fortune exactly in this way...

Anica (60) resists her ongoing chemotherapy while perceiving her daughter’s care as an assault on her dignity. Vlatko (60) is an alcoholic and a loner, completely written off by his work colleagues. Filled with mutual contempt, Anica and Vlatko separated long ago and seemingly no longer communicate. On their drawn-out paths toward oblivion, they search for an ally who will hear their desperate cry for the will to live.

We Are Not Angels III is a Serbian film. In 1973 during a Youth Work Action, budding musician Borko Pavić (Nikola Pejaković) is disappointed to find out that the majority of his fellow young workers prefer to dance kolo to folkish harmonica sounds rather than listening to him play his acoustic guitar. Heartbroken and depressed he confides in his best friend that he read that in America the young people make the devil appear by playing the music backwards who then makes them rich and famous. He becomes the mega popular rock'n'roll superstar Dorijan. Cut to 30+ years later Dorijan is still a debauched, coke-snorting, and alcoholic superstar, except that he's now playing turbo folk instead of rock'n'roll. He lives with a silicone trophy girlfriend Smokvica and his best friend from childhood is his business manager. Despite still having his women, fame, and fortune, Dorijan is unhappy about having to resort to playing a musical style he hates in order to have all that.

In a way of protesting for inhuman living conditions and the shortage of medications caused by the disintegration of Yugoslavia and its sanctions, a doctor in a hospital decides to close his clinic for mental illness. His wish is to return the patients to their homes or give them to someone who is willing to accept them temporarily.