Manuel Jiménez receives some clandestine wiretappings that he has to transcribe. Because of this, and almost without wanting to, he enters a kaleidoscopic plot that involves a group of people at a party, their later walkabouts around the city at night, and their relationship with the secrets hidden inside Vodka’s diary.

Spring of 1921. NEP (New Economic Policy) initiation rapidly changes Petrograd which was lifeless after wars and revolution. Marches and hymns are mixed with foxtrot and chanson. Well-dressed people appear on river quays, as well as thugs who are ready to rob them of money. So the chaos starts and it is invincible for police: shops are robed five times per day. Then the criminal world of Petrograd headed by Uncle Kolya comes to defend NEPmen and starts to run a protection racket on them. But not all the NEPmen are ready to pay for these services what makes Uncle Kolya to send his combat groups to these people. The most famous and productive of these groups is the Rodya’s gang. Rodya is former anarchist, sharp thug, fancy pants and ladykiller.

A film about the backstage life of an ordinary Moscow bar, where relationships between the owner, the racketeer and the employees are pretty reminiscent of the ones in a family. However, unlike a family, they are connected by a mutual cause, the role in which are far from equal. Submission and humiliation weave through the characters' entire lives.

Nadya and Valya, young women on the verge of a nervous breakdown, without faith and hope for the best, sisters, of whom, ironically, there are only two left. Will they be able to break out of their "Chekhovian" stupor and again begin to feel, breathe, live and love?

在亚美尼亚一个与世隔绝的小村庄，鳏夫Hamo带着少的可怜的退休金和3个幼子每日赶往妻子的墓地。在那里他遇到了可爱的尼娜，她也在悼念亡夫。两人同样的贫穷，她在当地一家快要倒闭的酒吧工作，他被迫开始变卖微薄的财产。一切看起来都没有希望，这时Hamo向尼娜求婚，这意外的结合却给他们带来了转机。

印度马纳利，冰天雪地，云雾缭绕，却发生了一系列离奇的凶案。警务助理处长阿什维尼·迪克西特，在破案过程中，遭遇了不可思议的怪事，而所有的线索都指向了“伏特加日记酒店”。不得不说，印度片在近年推行的国际版，正在逐步减少歌舞、冗长等印度特色，而趋向于情节制胜。

A renowned actor named Otto is the epitome of the problematic but beloved ladies man. Even when drunk he still knows more about filmmaking than does the amateur who is directing him in his latest movie. But what should the unreliable star do when a local actor joins the crew as his understudy? Comic situations arise not only because of the well-known environment, but also from an inclination to authentically capture the various relationships. These introduce a hint of harsh reality into the filmmakers’ glittering atmosphere. Otto portrays a highly distinctive character whose ambiguities attract attention, and whose obstreperousness isn’t merely a lot of hot air. And if at first his problematic behavior evokes antipathy, it isn’t difficult to find a way of approaching the character as the film progresses. The retro touch of the “film within a film” doesn’t overshadow the emphasis on the authentic tone of the situations, and it even lends vigor to a work whose melodramatic plane is noticeably deeper than its openly confrontational surface might make it seem.

A compilation of three videos recorded during a private, invitation-only gig at The FunHouse in Bisbee, Arizona (where Stanhope lives, the audience is comprised of his close friends and neighbors) in 2016. Previously available as clips on YouTube, Stanhope released the three, 20-minute clips himself direct to streaming services, including Vimeo and Amazon, in late 2017.