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A recently widowed affluent woman, Undral, faces an inevitable challenge when she must bring her late husband's former wife to the city from the countryside.
Studious Saruul covers for her roommate at a basement sex shop run by the alluring, grumpy Katya, who takes Saruul under her wing and shows the young woman that there's more than just studying, and that sex is fun, healthy, and em...
An anthology film created under one theme by 3 directors who are creating their own colors in contemporary Mongolian cinema.
It seems Lardimaa lives in all women's dream life. Snow white wedding dress, out of this world wedding reception, big and expensive house, high-end furniture, wealthy caring husband. Husband is rich, but seems caring in front of everyone's eyes. Takes her everywhere and buys her the world. In reality, all she wants to do is to get away from her husband. After some incident she ends up in a prison and meets the prison guard, who also is not happy with her life. Lardimaa's struggle helps the guard woman to see her life in reality and helps Lardimaa to get out of prison and be free from her manipulating, sadistic husband and takes Lardimaa's place in the prison.
The film continues as Gard, a fugitive who returns to his homeland during a time of terrible repression, forms a strange bond with his old acquaintance, the milkmaid Khoroloo, and a new local girl, Duuriimaa.
A film that combines three different perspectives and three different worlds into one work of art. The film tells the story of a boy named Uurtsaikh, and shows his life up to the age of 19, so the film is called "19". The first part shows the life of a family in today's society through Uurtsaikh's childhood and his relationship with his parents, while the second part shows Uurtsaikh's love life with humor and adventure. The last part is directed by I. Nyamgavaa in the "arthouse" genre.
In a city rife with corruption and scandals, surrounded by indifference, the solitary and enigmatic Myagmar lives in isolation after enduring 14 brutal years in prison. Scarred both physically and emotionally, his only companions are the stray dogs he has rescued over time.
Bayaraa, a weather-worn muralist who once tasted glory in Europe, returns to Mongolia with only a box of paints, a rooftop tent, and his loyal stray dog. Each day he descends the wall of an abandoned factory, covering its crumbling concrete with sweeping murals of mythic Mongolian landscapes. Watching him is a sardonic balloon, at once conscience, companion, and a stroke of fable. When officials announce the factory will soon be demolished, Bayaraa becomes determined to leave behind his masterpiece. Yet the deeper battle lies within: the long-buried wound of the wife and daughter he abandoned for art.
It shows the current school curriculum and the lives of students.