A man continues to throw rubbish into the forest, to the great annoyance of both the forest ranger and the forest animals, but when he refuses to stop, more drastic measures have to come into use – and this is where the forest ranger luckily gets the help of a dog, a cat and a mouse, who have had enough of the litter lout.

A serious businessman buys a new car and discovers a major flaw in his shiny new pet - it won't start. With the help of the men of the Emergency Brigade, his car becomes the original eco-friendly means of transport.

Can you honestly swear that at least once in your life you have not thought that robbing a bank is a good idea? Especially, if you're five years old and that bank has just thrown your parents out of a brand new apartment, because your father has lost his job. Five year old Robby is no Zorro, but he'd like to be. His seven year old sister Louise thinks he's too childish, but can't resist the game of robbing a bank. Together they can pull off just about anything. Getting away with it is the hard part.

Filmed in the waning days of the Soviet Union, "Svešais" (Stranger) is part road film, part mystical exploration and part social commentary. Filled with apocalyptic imagery, desperation and aimless nihilism L. Ločmele's film takes us into a nightmarish world of alcoholism as seen through the eyes of a child who is losing his father to the bottle. Having run out of options and tired of being embarrassed by his father, young Zigis (Č. Glaudāns) attempts to travel from Cēsis, by whatever means available, to meet Zilākalna Marta (Martha of the Blue Hill), a real life faith healer played by Marta herself, in the hopes of finding a cure for his father. On the road to and back from Zilaiskalns Zigis runs into a cross section of characters representative of the stagnation that ultimately led to the collapse of the Soviet Union. From well-meaning, if ineffective social workers and policemen, to nihilistic kids who steal simply for the sake of the thrill. The film has a documentary feel to it, but at times comes across too strong. There are only so many times you can look at images of alcoholics destitute on the streets before you become inure to the image. While flawed in many small ways, mostly because of trying to hit the audience over the head with its message, it still manages to capture a small corner of the zeitgeist of the end of the Soviet era.