Lydia Billiet

A group of cosmopolitan women passengers aboard the Trans-Siberian/Mongolian Railway are taken prisoner by Ulan Iga, a warrior princess.

A murder is committed in the building where Aurélia Maudru, inspector of the judicial police in charge of the investigation, lives.

A factory worker is employed in the desolate, cold-storage cellars of a brewery. His spare time he devotes to collecting romantic images of wild flowers and sticking newspaper cuttings in an album, demonstrating a preference for more gruesome stories. Murders, rapes and acts of violence are the events which accompany his everyday existence and invest it with a tinge of color.

Two men become entangled in a torrid love affair with the same woman. Pierre is Miriam's longtime lover. John is desperately searching for clues about his past when he and Miriam have a fateful encounter in a Berlin train station. The allure of forbidden love becomes irresistible, and an intense love triangle is ignited. Who will Miriam choose? Who will walk away? For two men who desperately adore the same woman and for the woman who loves them equally...there is no easy way out.

Karin, a well-known and loved midwife in her early forties, receives a high-order decoration from the state. While still overwhelmed with happiness about this honor, she is faced with a difficult decision when she encounters a young women who claims to be her daughter.

A small town shortly before the end of the GDR: 15-year-old Ulla lives with her mother in a dilapidated old building where not even the electricity works properly. Economy of scarcity and national bankruptcy are visible everywhere. Only higher party comrades live in the lap of luxury. When Ulla meets Winfried after a summer bathing trip, the two fall in love. Winfried is the son of an influential general director and owns things from West Germany that others only dream of: a computer, a games console, a walkman. On an excursion with her biology class, the high school student discovers that a dacha is being built in the middle of the nature reserve and the creek has been dammed. Winfried's father turns out to be the culprit, but the mayor is on his side. Ulla rebels against this environmental destruction connected to political corruption and organizes a protest. Her activism not only endangers her own future, but also her first great love.

A woman in her mid thirties drifts through Berlin on a Friday night then lazes around her apartment with her husband the next morning.

In a king's kingdom there is a forest so dangerous that every man who goes into it is never heard from again. Iron Hans, who is responsible for the deaths, is found at the bottom of a lake and locked up in the king's palace

Hugo Claus rewrote and directed Friday as the cinematic version of his original 1969 play of the same name. Just as in the play, the story begins with the theme of incest, as the father Georges (Frank Aendenboom) returns from serving his jail sentence for that crime. Unlike the earlier play, however, the film does not emphasize that aspect of the story. When Georges gets home he finds out that his wife Jeanne (Kitty Courbois) has had an illegitimate child by a younger man, Erik (Herbert Flack), and now both of them must somehow try to return to a normal life, given their only too obvious lapses in moral judgment. As the husband and wife try hard to accommodate each other's failings and start to get to know each other again, Erik comes back into the picture. Now the three of them must resolve the deep-seated conflicts that brought them to this emotionally-wrought juncture of love and betrayal.

Leontientje, the Parisian niece of an East Flemish farming family, comes to stay. Aunt Zeunia is dying and has asked for her. Her visit completely disrupts life on the farm. The men fight for her attention, and the city girl is delighted by every bit of nature: 'Comme c'est beau!'. Her Parisian manners—two kisses for everyone—drive the farmer's wife up the wall: "All that fuss!" But the youngest farmer starts dreaming...