Júlia Ubrankovics

The film, a spin-off of the Mocro Maffia series, is about the character Tatta, played by Robert de Hoog.

Based on the Hungarian novel "Our Street" by Sandor Tar, the film deals with a post-apocalyptic Hungarian-Ukranian village where everything is rotten, planes randomly crash, and only alcohol moves people around - no money, no electricity, only barter. In this wasteland, Ocsenas is the only hero, the one trying to survive amidst the savages and war, the one who helps everyone out, all while caught up in a love triangle that will define his future.

A young woman must confront her physical and emotional boundaries as she enters the world of professional domination and submission.

A young woman must confront her physical and emotional boundaries as she enters the world of professional domination and submission.

In 1940 Budapest, a successful doctor leads a perfect life, unaware that his wife and his adopted son are planning to run away together.

Boróka, the 18-year-old heroine of the film, soon lives off the millions she has received to buy a home with her lover János, who, once they run out of money, trades her love for a Harley Davidson motorbike. Boróka becomes the prisoner of a pimp named Ronaldo. She has a bitter experience in the woods near the highway until she escapes from her captor at the first opportunity. She meets Móric, who takes in the escaped girl. Boróka enrols in an EU manager training course. Her talents soon come to light, successfully selling red umbrellas to a large crowd of her former acquaintances. Ronaldo and his buddy, tracking her down, find Móric, whose arm is broken in a fight. Boróka herself seeks revenge and attacks the pimp (in a female way) in a bodybuilding salon. After clearing the obstacles, she successfully completes the course, Móric recovers and the future may even bring love for the young couple.

A mother with an affection to air-refreshers, a daughter looking down on her mothers job.

The film follows seven days of a young gypsy, with a short excerpt from each day. Through these brief 'life' images, the film gives a dark and fragmented portrait of Kristóf, similar in style to Hungarian fiction documentaries of the 1970s and 1980s. A life at a standstill with no possibility of change is documented in the figure of the protagonist: Kristóf has neither the social background nor the education to turn his fate around.