A dead man who doesn’t know that he’s dead, and a medium on the verge of an emotional breakdown who manipulates this tortured soul and makes him believe that he’s alive… It’s "a romantic comedy - because that’s actually what it is - which gets off to a really bad start", the mini-synopsis wryly explains.

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A biographical film about the famous Czech painter Mikoláš Aleš, portrayed as part of the vanguard of the working class and a spokesman for the oppressed, who asserts himself despite the opposing bourgeoisie and reactionaries of all kinds. The film focuses on the period when Mikoláš Aleš participated in the competition to decorate the National Theatre.

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Within the cultural policy framework of the 1950s, Mikoláš Aleš was, in terms of fine art, equivalent to Bedřich Smetana in music and Alois Jirásek in history and literature. This biopic presents Aleš as an artist of a devoted to his nation and its folk traditions. The movie depicts the most important events of the celebration of “Aleš’s Year” (in honour of the hundredth anniversary of Aleš’s birth), which was conceptually prepared first and foremost by the then education minister Zdeněk Nejedlý, who was also a crucial figure in terms of cultural policy.

In the United States of America, lobbyists, corporations and billionaires invest millions of dollars to ensure that a suitable candidate, one inclined to support their personal ambitions and economic projects, wins an election, which inevitably affects everything, from the selection of local officials to presidential elections, creates countless conflicts of interest and undermines what supposedly used to be a model democracy.

Jesse is nine months pregnant and lives with her underemployed husband Hank in a dilapidated mobile home in a rusty trailer park and they spend an afternoon arguing about the problems they're having in their lives.

A New Yorker searching for the world's best beer takes a series of wrong turns through Hamburg and Vienna before reaching a happy ending in Murau.