The cops Boki and Pajko try to catch the arms smugglers. Their commander claims that the smugglers are women who have AIDS, which only makes their quest even more difficult.

Due to misunderstanding and hard life, a man divorces his wife and leaves the city. He comes to a new environment, meeting new people and new wife. Crucified between two worlds, he does everything to bring her two sons on the right track, and getting on with his own life. Lost in that space, powerless to change things significantly, he commits murder.

The election campaign in a small provincial town is in full swing. Candidates for ministry position pop up elsewhere, promising "milk and honey" to the voters. Two inseparable policemen, Boki and Pajko, are in charge of peace and order. Everything goes as usual until unexpected visitor from space shows up.

Grad is a psychological drama about the thin line that separates depression and melancholy. It gives us the opportunity to understand that the alienation of the modern socialist man is not just a social problem, but also a poetic aestheticization of urban thinking and behaviour. For Pavlovic, Bapca, and especially Rakonjca, self-destruction is not a defence mechanism, but a lifestyle. Exploring new areas of old sites, Grad is, in a figurative sense, the first Yugoslavian film that deals with the suburb as a metaphor of alternative culture. Through their analysis of public consciousness, the three directors project their secret Bauhaus, seeking its shadow in the hidden areas of obsolete thought, in the everyday of Socialism. The film ends up in a real suburb of Belgrade, defining a new border area between intimacy and claustrophobia, Neoclassicism and Constructivism, night and day, village and city, sound and images, present and future.