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Ten short pieces directed by ten different directors, including Ken Russell, Jean-Luc Godard, Robert Altman, Bruce Beresford, and Nicolas Roeg. Each short uses an aria as soundtrack/sound, and is an interpretation of the particular aria.

Three separate stories all concern the relationships between adult children, their somewhat distant parent (or parents), and each other. Each of the three parts takes place in the present, and each in a different country. Father is set in the Northeast U.S., Mother in Dublin, Ireland, and Sister Brother in Paris, France. The film is a series of character studies, quiet, observational and non-judgmental. A comedy, but interwoven with threads of melancholy.

Nanni Moretti recalls in his diary three slice of life stories characterized by a sharply ironic look: in the first one he wanders through a deserted Rome, in the second he visits a reclusive friend on an island, and in the last he has to grapple with an unknown illness.

Three distinct tales unfold in the bustling city of Tokyo. Merde, a bizarre sewer-dweller, emerges from a manhole and begins terrorizing pedestrians. After his arrest, he stands trial and lashes out at a hostile courtroom. A man who has resigned himself to a life of solitude reconsiders after meeting a charming pizza delivery woman. And finally, a happy young couple find themselves undergoing a series of frightening metamorphoses.

A successful art historian who has trouble telling people difficult truths, finds himself in an inescapable situation when a small lie quickly gets out of hand.

Gambler Nathan Detroit has few options for the location of his big craps game. Needing $1,000 to pay a garage owner to host the game, Nathan bets Sky Masterson that Sky cannot get virtuous Sarah Brown out on a date. Despite some resistance, Sky negotiates a date with her in exchange for bringing people into her mission. Meanwhile, Nathan's longtime fiancée, Adelaide, wants him to go legit and marry her.

This three-part ballad, which often uses music to stand in for dialogue, remains the most perfect embodiment of Nemec’s vision of a film world independent of reality. Mounting a defense of timid, inhibited, clumsy, and unsuccessful individuals, the three protagonists are a complete antithesis of the industrious heroes of socialist aesthetics. Martyrs of Love cemented Nemec’s reputation as the kind of unrestrained nonconformist the Communist establishment considered the most dangerous to their ideology.

A runaway heiress makes a deal with the rogue reporter trailing her but the mismatched pair end up stuck with each other when their bus leaves them behind.

Dasha thirty years, she was finally disappointed in men and wants to bring child into world from a very handsome guy with good genes. She succeeded to search a firm in that rendered similar services, but from this undertaking nothing went out. During the searches of donor Dasha meets with a good, cute fellow, specialist on repair of televisions. He falls in love in Dasha, but her it seems to that a fellow not fully conforms to her requirements.