In the age of the Bulgarian National Revival an icon painter is invited to do frescoes and to decorate the icon stand in a newly built orthodox church in a small Bulgarian town. He inspires love feelings in a young girl – Katerina, who opposes the common moral understandings in Bulgarian society.
It’s 1980. Malin is fatherless, angry, and in trouble. At 20, he’s spent a year in jail for assaulting a lover of Lily, his mother. In her desk he finds a soldier’s photograph and assumes he’s found his father. He confronts the man, now a teacher, and gets nowhere. At home again, he mocks his mother. Finally, she tells him her grim story, from the year before his birth. We see a people’s court, where Lily’s parents seek justice for their grandchild to be. We follow Lily to a prison camp, to the city where she’s told to inform on the only person who’s been kind, to an asylum, and finally to her current poverty and loneliness. How will Malin respond to these revelations?
During the 1800s, Peru’s government sends 2 envoys to negotiate peace with the rebellious Incas but a treasure-hunter bandit shoots the Inca ruler and his son, leaving the 2 envoys to take the blame for it.
A middle-aged Bulgarian is watching the change of the guard in front of the Buckingham Palace. For no apparent reason, while looking, in his mind he gets back to his childhood in the little Bulgarian village he grew up in. Different rites, different traditions and still he finds something in common. He recalls the people he knew, he feared or admired. He ponders over that life of no brilliance, where people plough, harvest, marry and die, celebrate or grieve. Miracle are also worked, conceived in a unlimited child’s imagination. It is the child’s perception of the world that helps us to give a meaning to the major questions of human existence.
The Tied up Balloon was one of the most innovative and challenging works by Bulgaria’s pioneering female director, Binka Zhelyazkova. Set during WWII, a barrage balloon inexplicably appears in the sky above a remote peasant village creating an atmosphere of alarm, speculation and debate.
In a white ward in a clinic a lifetime balance on the verge of death. Memories are herding together in the mind of seriously ill Aleksandrov, a scientist, who evaluates and reevaluates his own life: friendships, loves, career. Images of his youth are crowding in: of his beloved, of his children, of evenings, spent with his friends, ups and downs. And no one is able to say if all this made any difference.
On a hot summer day three boys are splashing around the river. One of them gets his hand caught in the stone masonry of a railway bridge. Many peasants, the passengers from the train, which stops nearby, and the crews of tanks taking part in a military exercise flock to the scene of accident.
Nine-year-old Vanyo often plays with wooden swords and cardboard knight’s armour. He gradually confronts the life of grown-ups. The boy is confused – why do his parents say one thing and do another? Vanyo feels increasingly lonely and, in his thoughts, he talks to the only person he trusts – his uncle Georgi. It is only with him that the boy feels happy. Together, they go to the printer’s, to rehearsals at the theatre, and they watch movies. Uncle Georgi never interrupts Vanyo’s words and questions; he treats him seriously. How is this tiny knight going to enter life without an internal armour against rudeness and egoism?