Spring of 1944. The war is nearing its end. Thousands of concentration camp inmates were brought to the Normandy coast to repair the defenses damaged by Allied aircraft. On one of the islands, a small group of prisoners, led by Colonel Zakharov, prepares an uprising. The course of events was accelerated by an action taken by French prisoners of war. They barricaded themselves in the bunker and were ready, sacrificing themselves, to undermine the fortress.

Instead of going to the front, where he had decided to go after his father’s death, Giga Betaneli ends up at a defence factory in Donbass. His fiancée Nana, who had not received any letters from him, believed he had died. Several years later, Betaneli returned and started working at a metallurgical plant. To his surprise, he discovered that Nana had married his new friend Tamaz. Devastated by the news, Giga realised that nothing could be changed.

Yugoslav farmer-turned-partisan Slavko Babić starts an uprising against the fascist Germans and their allies.

Potter's son Gogita moves from his distant village Sabudara to the town. Knowledge obtained from his father and his personal qualities help Gogita on his difficult way towards professional success and beautiful Tebrole's heart.

Georgia, the 80s of the XIX century. The property of the ruined nobles, brothers Michela and Aslan, remained an old house, one pair of boots for two, a rooster and a servant of Lazaria. And only marriage to a rich bride can improve their deplorable financial situation.

A rare, hysterical gem from early Soviet cinema. CHEMI BEBIA (MY GRANDMOTHER) is a Georgian avant-garde slapstick silent comedy that was banned in the Soviet Union for almost 50 years. And it's pretty easy to see why. Whereas later Georgian filmmakers became rather adept at slipping political criticism under the noses of the Soviet censors, this film ends with a completely unambiguous rallying call for the death of bureaucrats. Lots of the creative techniques one associates with early Soviet cinema are on display here, but they are filtered through a sieve of early American slapstick and used mostly (and most successfully) for comedy. Imagine Harold Lloyd starring in Terry Gilliam's BRAZIL and you'll start to get an idea of what MY GRANDMOTHER is like. It's hilarious, and historically it's interesting to watch in that it's just as politically obvious as any other early Soviet film, but in an entirely different way. Imaginative, innovative, amazing! This is a wonderful film that works on so many levels. As a farce, it's up there with Charlie Chaplin or Monsieur Hulot. It's really funny. The score is absolutely brilliant. The acting is top-notch. As a satire on corruption and bureaucracy, it hits the nail on the head. The elements of surrealism work tremendously well in acting, sets and scenes: just extreme enough to make the point well without losing touch with the underlying reality. Through all this, key themes are maintained. The director also plays effortlessly with gender, age and hierarchical roles, switching and undermining them relentlessly. Innovative film techniques, too, are used exceptionally well: puppetry, collage, distortion plus many more. One could doubtless see this film a dozen times and still find something new.

After World War II, a woman refuses to believe her husband, missing on the Russian front, is dead. Flashbacks reveal their brief courtship and marriage. Years later, she travels to Russia with his photo, determined to find him. What will she discover?

1968 film by Miklós Jancsó