In a city destroyed by war, a boy collects broken toys to replace his friends and family. One day he finds a Christmas gift and runs away. Based on the last script by Bretislav Pojar.

1830s, Moldavia. The groom Todor fell in love with his master's maid, Yustinia. Having found himself in hard labor, Todor organized an escape and, with a group of like-minded people, took refuge in the codry. So, under the leadership of Ataman Todor Tobultok, the Moldavian rebels, who called themselves haiduks, began to fight against the tyranny of the landowners.

During World War II, Jernej learns about the movement of twelve enemy soldiers. He sets out to ambush and kill them, but this choice leads to devastating consequences.

The events unfold during the years of the Civil War. Commissar Fadeytsev once spared the life of a White officer, Chugureyev. Now, in the days of the counter-revolutionary uprising, Chugureyev, sent by his command to a remote island, encounters Fadeytsev, who is hiding in the house of a gamekeeper named Maksim. The gamekeeper is sentenced to hang, and the sentence is carried out. Fadeytsev manages to escape captivity, but being on an island, he knows full well that he won’t get far from the enemy...

A young apprentice learns timeless tales from his master.

http://www.youtube.com/watch?v=dq7GMJH9qFc 4 min

“A burned-out group of Brno intellectuals decides to go to Kolochava in Ukraine to perform ‘A Ballad for a Bandit’ there.” With these words, the author's collective presents their film, in which they use primarily documentary imagery to compose a lyrical grotesque about an epochal trip, which might be their goal. But it doesn't have to be. The main tool of expression here is the film’s edit, which places various shots, statements, and meanings next to each other, often in a sort of productive conflict. Just like in a poem, the “poetic function” of art and its ability to serve as the primary tool for expressing beauty is manifested in full force before our very eyes.

London...present day. A violent, desperate man breaks into an inner city church. With him, he brings the anxiety and anger of contemporary society. Once inside the church, he faces his greatest opponent...a world weary Priest. The Fighter challenges the Priest, on the fundamental fabric of life...faith and death, belief and passion. The scene is set, in the fight for truth, redemption and forgiveness.

Released in 1968 and often referred to as Canada’s first music video, The Ballad of Crowfoot was directed by Willie Dunn, a Mi’kmaq/Scottish folk singer and activist who was part of the historic Indian Film Crew, the first all-Indigenous production unit at the NFB. The film is a powerful look at colonial betrayals, told through a striking montage of archival images and a ballad composed by Dunn himself about the legendary 19th-century Siksika (Blackfoot) chief who negotiated Treaty 7 on behalf of the Blackfoot Confederacy. The IFC’s inaugural release, Crowfoot was the first Indigenous-directed film to be made at the NFB.

A down-on-her luck prostitute embarks on a wild adventure that puts her in contact with the Mafia.