A woman is forced to go on the run after her husband betrays his partners, sending her and her baby on a dangerous journey.

Mrs Hardy is annoyed that her husband Oliver seems to spend more time with his friend Stanley than with her. After a furious argument, Mrs Hardy says that she is through if Ollie goes out with Stan again. Stan suggests that Ollie adopts a baby, which he does. Unfortunately, his wife has left their apartment on returning, and a process server delivers a paper informing Ollie that she is suing him for divorce, naming Stan as correspondent. The boys are now left to look after the infant on their own.

Susan needs to come up with a commercial jingle for a new pillow before the weekend, but there are distractions: her infant’s incessant crying, her husband’s strange behavior, her baby monitor’s ability to pick up juicy neighboring arguments. And yet, these intrusions seem small compared to the arrival of a mysterious courier, whose presence threatens more than Susan’s productivity.

When Popeye takes the baby for a walk in the stroller, the little one won't be quiet unless he's sleeping. Of course there's no end of noisiness.

A lonely janitor most make a choice when a vampire attack leaves him the sole caretaker of an orphaned, and possibly monstrous, infant.

Swee'pea is crying, so Olive calls on Popeye to cheer the baby up. Popeye and Bluto compete by doing various silly antics.

Two babies are in dire need of pacification.

The cries of a baby drive a man going through a breakup into drug-fueled madness.

Jamaa Fanaka’s first project plays off the Blaxploitation’s genre conventions, an adaption of Goethe’s “Faust” presented with a non-synchronous soundtrack and superimposed over a remake of Super Fly (1972). Often out of focus with an overactive camera, the film immediately exudes nervous energy, but unlike Priest’s elegant cocaine consumption in Super Fly, Willie’s arm gushes blood as he injects heroin. A morality tale in two reels. —Jan-Christopher Horak