A Russian, a Jew and an Armenian came to Margarita to help her with some household repairs. But then came another surprise - a Black American who was determined on proposing to her. A Russian member of the State Duma, a Jewish teacher and an Armenian restaurateur decided they cannot possibly let her leave for the United States. It might be hard to persuade her to stay, but it’s not in the nature of people in Russia to give up easily. That day turned into night, which turned into morning and divided Margarita’s life into ‘before’ and ‘after’. After her guests almost crashed the apartment that they were supposed to help fix, Margarita understood that men are interested in many things - sex, politics, nationalism, internationalism, anarchy, family values, philosophical questions about the meaning of the world - but not in home repairs. And it is only in the end that she sees: men who are special do exist - but you have to look carefully…

A businessman (Prathapachandran) gets murdered by his driver. His daughter Rekha (Urvashi) is married to Vinod (Suresh Gopi) who is more interested in taking over the business than taking care of his wife. Rekha's erstwhile boyfriend Ajith (Jayaram) who's now in the army is more sympathetic to her, but Vinod gets suspicious about their relationship.

A group of old friends gather for a girls’ night on New Years Eve. But as they begin to rehash old memories, many of the gripes they’ve been harboring manifest in murderous ways.

Six would-be thieves enter a prestigious dance competition as a cover for their larger goal of pulling off a major heist.

A young woman is forced to return to her hometown to take care of her ailing father and, in turn, finds herself living a life she never imagined for herself.

Longtime friends and strangers mingle while spending the holiday on the snowy Slovakian mountains with an ample dose of ridiculousness and romance.

It is an anthology film based on of five different life stories. A slice of lives of a few people all culminating on new year's eve.

In Happy New Year, Jinjoon Lee juxtaposes the joy of New Year celebrations with the harsh realities of war and disasters. Combining digital utopias with classical art forms, the installation calls for reflection on the tension between illusion, apathy and our shared reality. 　　Jinjoon Lee’s Happy New Year is an interactive art installation that juxtaposes the festive beginning of a new year with the harsh realities of war, disasters and climate crises. Using a game engine, Lee creates a seemingly utopian landscape, reminiscent of the positive worlds created by artificial intelligence. These serene images show how technology can blind us to urgent and uncomfortable truths, alienating us from current tragedies. 　　Lee combines contemporary technology with traditional art forms such as Korean Chaekgeori (still life paintings of books and objects), Western ‘wonder rooms’ and the Buddhist Wheel of Reincarnation, where heaven and hell and life and death constantly alternate. These references give this fictional world deeper meaning, one in which beauty and decay go hand in hand. With Happy New Year, Lee invites us to reflect on the contradictions of our existence: the longing for utopias versus harsh reality, and the apathy that arises when we ignore that reality.

Before ringing in the new year, a man heads to Bangkok for a job opportunity but chaos ensues when his girlfriend and her brother decide to take a trip.

Three thirtysomething chemical scientists, Laci, Gyuri and Kati celebrate the success of their development program before New Year's Eve with drinking for several days. But the morning of New Year's Eve does not bring the expected recognition, because the nice, bald, old director is replaced by a young, bald, but disagreeable one. In a sodden atmosphere it becomes clear that everybody has an axe to grind in the informative discussions.