The happiness and well-being of the wealthy beauty Anna collapses when her businessman husband, without explanation, leaves her and files for divorce. Shortly before the divorce, Anna began to actively engage in her own charity project. At first, the husband was supposed to help with financing, but now he has disappeared and does not get in touch. Anna hopes that this is not a break, but a temporary crisis, and also temporarily settles the first participants in her mansion. This is how Bentley and Prada settle in the region: a simple village girl, an instadiva, a former convict and a young vegan eco-feminist. Anna and her wards girls will have to jointly look for ways not only to survive, but also to find funding for their project. After all, they strive not only to improve their lives, but also to provide such an opportunity to other "problem" women.
Nadia made her choice all her life with an eye to pleasing the environment, and by the age of 45 she was at an impasse. On the one hand, she has everything that many do not have - a family, work at the university, status. On the other hand, she does not feel that she is living her own life. But violence against one's inner world cannot go on forever. After her husband's betrayal, Nadya realizes that she cannot continue to live like this. At this moment, her niece Alena, who is fond of stand-up, moves into her apartment and encourages her aunt to change. Gradually finding harmony with herself, Nadia begins to change for the better. But will Nadia be able to defend her right to be herself - to dress the way she wants, do what she loves and meet a young guy - when relatives, friends and colleagues believe that she violates social norms and do everything to prevent this from happening?
Anya is sent under a contract to Los Angeles to work in a modeling agency. Waking up after a party, she finds a bloody knife in her hands. She is suspected of a crime, but unraveling the secrets of the young model will not be easy at all.
The love story of the son of Imam Shamil Jamalutdin and Lisa Olenina against the backdrop of the dramatic events of the military history of Russia in the first half of the 19th century. Jamalutdin went down in history as a "great hostage", and the film is an attempt to answer the question: a hostage of big politics or big love. The historical context of the decline of the Nikolaev era, against which the story of love and betrayal, honor and duty, service to the motherland and loyalty to this word unfolds, will become the key to the film.