Our Fault

Ulrik Torp, once a fearless investigative journalist who is now tackling unemployment and a midlife crisis. He finds himself in the middle of a new political conspiracy.

A mother struggles to make a better life for her daughter.

Lori Saint-Just, a master jeweler shattered by his wife’s death, relocates and becomes obsessed with Cona, a prostitute who first entices then rebuffs him. Driven to possess her, he robs and accidentally kills his benefactor to inherit a $30 billion fortune, gives Cona a replica necklace, and she enacts a staged murder-suicide to destroy them both while sparing him guilt.

Mist on the Moors examines fates of just about a few people. Their stories are outlined in a short space of time and are a symbolic representation of the drama of life, struggle for justice, human cognizance and the healing power of love. One of the most important components of the film is the nature, which ceases to be a mere stage for its plot—it serves almost as an autonomous plot agent. The movie landscape is a precisely defined and localized one. Only the South Bohemian ponds can serve as the right environment for development of such earthy and typically human stories as we encounter in the Mist on the Moors.

Raoul Duke and his attorney Dr. Gonzo drive a red convertible across the Mojave desert to Las Vegas with a suitcase full of drugs to cover a motorcycle race. As their consumption of drugs increases at an alarming rate, the stoned duo trash their hotel room and fear legal repercussions. Duke begins to drive back to L.A., but after an odd run-in with a cop, he returns to Sin City and continues his wild drug binge.