The Double

This film is a comedy about a poor man named Purko. Purko always fails in his attempt to escape from poverty. The film illustrates the social and the moral atmosphere in Bulgaria during the 1930's.

A middle-aged man makes every effort to provide for more or less decent life for his family. He is a driver who carries vegetables and fruits. He spends reasonable to save for his family and especially for his kid. Everything is all right until the day when the boy finds out that the part of the money have been made in indecent way. This revelation provokes a serious conflict in the family and the boy deserts his home. The man makes an attempt to put an end to his shady deals, but it turns out to be impossible. His 'employers' display exorbitant aggressiveness.

The end of World War II. The Bulgarian army is fighting the German one. Private Peycho Peychev known as Peychina is also at the frontier - a sensitive and timid person forced to witness the horrors of the war. His commanding officer keeps saying that at the end of a war the world is swept by a 'surge of tenderness'. After a serious injury, Peychina goes back to his birth place. The new ruling powers in the village try to win him over to their side but what he is really good at is holding the chisel, not the gun. He carves an image of Elena, a woman that he falls in love with. Yet, the surge of tenderness in the world seems to be canceled. Peychina comes to be responsible for the death of an anarchist and helps capture his commanding officer, who fights against the new rule. When the mayor hands him a gun again, he refuses to take it.

Teenagers Margarit and Margarita are in love. When Margarit defends Margarita from a joke at school, he gets expelled, and she joins him. Initially, things seem promising as Margarita has a chance to study folk dance with Julian, a gay instructor, and possibly join his company. Both Margarit and Julian are jealous, though it’s unclear of whom. Julian frames Margarita, and Margarit takes the blame. Margarita then attracts the attention of Nerizanov, a lustful and bisexual party boss, leading to further complications.

A piercing look into the heated ambition, rivalry and coercive power of the written word in the advent of the free press in 90's Bulgaria. Using Volev's signature subtle irony, the documentary captures both the camaraderie and animosity of early media magnates at their utmost honesty.

Middle Ages: Bulgaria is under the Ottoman Empire. Somewhere, far in the mountains, goatherd Karaivan lives with his wife and little daughter, Mariya. One day Turks burst into the house and rape the woman before the eyes of the daughter and husband. After the rape, she is killed by a raper and the girl is shocked into growing dumb. From this moment on, Karaivan is obsessed with the sole thought of taking revenge. He moves with his daughter into a cave high in the mountains, raises her as if she is a boy, trains her to fight and draw a bow. Deep in her heart, the girl has no hatred, but a craving for love. She meets a young Muslim shepherd and falls in love. The father is unable to swallow it and kills the young man.

The relationship between two potters from the village of Busintsi, famous for its ceramics, with two different life positions towards the vocation, one of art and one of work.

The monotonous existence of the underage residents at the Home for Oligophrenics, designated as No. 8, is marginally diversified by preparations for Children's Day. Marching and gymnastic routines are rehearsed. In instances where the impaired children fail to perform adequately, physical violence is administered. Every effort is made to ensure the institution presents a favorable image to the ministerial superiors. Conversely, these children, disadvantaged by nature, find their own small joys—some enjoy singing, others dancing, and some playing football. However melancholic life at Home No. 8 may appear, it remains a sunlit paradise compared to the destination awaiting everyone who reaches the age of 18: the home for adult oligophrenics No. 6.