Andis Strods

Alice von Trota returns to her father’s manor in Latvia in 1919 to sell it and start a new life. She meets the hostile resistance of the local workers and discovers she has been lured into a carefully tailored trap set by a demonic lawyer, a decadent underground organisation and its necrophile leader. While escaping the clutches of her “helpers”, she meets some silent-cinema enthusiasts and learns to use the cinematograph as a tool for healing and self-discovery, as a weapon against her enemies and as a way to create a masterpiece.

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The storyline of the series is inspired by the events of 1994 in Jelgava, when 89 prisoners escaped from Pārlielupe Prison, tens of thousands of people were involved in their search, and mass arrests continued for ten years. dramas of mutual relations, a massive and enigmatic escape is organized, in parallel with the flourishing of the love of the main character and the daughter of the head of the prison and the hopes for a new, beautiful life.

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An autobiographical story about a boy who experiences the death of a relative firsthand. The story evolves around the boy’s struggle to find an explanation to death.

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Following an ad in the paper, Ilze leaves her native village to become an actress. She fails the audition, but her pride won't let her return home. Her boyfriend is skeptical about her ambitions, so he comes after her to bring her back home. The plot evolves around their relationship as they pretend and lie to each other trying to end the emotional stand-off.

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A young woman, Regina, has been killed in her apartment. Investigator Anderson holds Regina’s husband as a suspect for a murder because he is unable to remember his location at the time of the fateful event. Gradually, Anderson is convinced that Oto has not only killed his wife, but he also tries to hide his true identity – notorious criminal Schmit.

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It is dedicated to the memory of Heinrich Zveinek, the first commissar of the Inzen Division, who died during the defense of Lugansk and was buried on Red Square.

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