Sapna Lakha lives a very wealthy lifestyle with her businessman dad. She falls in love with a singer-cum-waiter, Shashank Dutt, who is also attracted to her. Her dad, who disapproves of him however, agrees to let them marry.

Soviet black-and-white cartoon of 1938. Film adaptation of the Uzbek folk tale. The tape is in the public domain, since it was released more than 70 years ago.

The story is about a father's love for his children and how money drives the children to selfishness. Dhaniram distributes his property equally among his children only to find himself all alone. His twin brother, Maniram along with his lawyer, Batliwala come to his aid and convince him to remarry, making his young wife Bharati his beneficiary.

Giving in to the demands of his children, namely: Govindram, Rohit, Aarti, and his daughter-in-law, Sunita, Dhaniram (Kader Khan) distributes his wealth between the four of them. Rohit prefers not to participate in this, and remains devoted to his dad. Greed overtakes, Govind, Aarti, and Govind's wife, and they become arrogant, and ill-mannered. Even his daughter gets married without his consent to Shashi (Shashikiran). Dhaniram and his lawyer Batliwala (Anupam Kher) contact Dhaniram's twin brother Maniram, and together they get Dhaniram married to Bharati (Swapna), who is much younger than Dhaniram. Thus the beneficiary of Dhaniram estate is now changed to Bharati, and it remains to be seen whether this will have an impact on Dhaniram, Maniram, Govind, Rohit, Aarti, Snita, Shashim and others.

The performance was accompanied by the manifesto of the Theatre of Death. Kantor stated the idea of his theatre, where the idea of LIFE can only be reclaimed in play by LACK OF LIFE. As participants in the séance he invited Witkacy, Schulz and Gombrowicz. The stage of play has been demarcated by cones and ropes. In the closed space the process of recalling the past takes place. Space is filled by rows of school desks were Old Men sit. Each one is accompanied by a mannequin of childhood. Kantor, present on stage, decides the rhythm of coming to life and dying of the class. The Old Man are inflicted with aphasia and amnesia, can only remember fragments of old knowledge. They make faces and make phonetic blunders. They pick up and abandon roles from Witkacy’s play. In a somnambulist parade they leave and come back to the space of play. They call up and dismiss memories. Pedel stands up and launches into Austrian-Hungarian anthem, then sits back down. An Old Man in the toilet stays there for a suspiciously long time. The Old Man with a bike goes on nightly rambles. Sleepwalking Prostitute bares her breast. The hourglass delivery man reminds everyone of Past Perfect. A Woman behind the window shows the line between like and death. The lesson turns into moaning – waiting for the tragic fate of the Jews. It’s amplified by a piercing lullaby, sang by the Woman with a Mechanical Cradle. The Death figure is embodied by the Cleaning Lady, who cleans the mess left behind by life. The last scene is a dance of automatons, showcasing the impossibility of return to the old world.

United Europe, the Baltic Sea coast. It is the Day of Thanksgiving, the most important national holiday since the denazification of the late 1960s, carried out almost two decades after the end of World War II. A war won by the Nazis. Europeans denounced the crimes of Nazism and took on themselves the blames of the victors.

Warsaw 1941. Gestapo captures a Home Army soldier who knows the code needed to read the list of agents working in Reich. Tortured Wójcik asks the doctors for poison.