High-school student Doug Dawson has it all: a loving family (comprised by his younger brother and their parents), a terrific girlfriend, a rock band he plays in after school...and a drug habit. The latter costs him everything else, as his behavior becomes increasingly erratic and alienation - some of it mutual - sets in. Doug wanders into an anti-drug lecture by David Toma, playing himself, but Doug is eventually ejected for disruptive behavior. Doug simply does not get the message - until, inevitably, the ultimate tragedy occurs.
Mini is a 10-year-old school girl from a middle-class family whose father is a habitual drunkard who beats up his wife as a rule and throws tantrums into the early hours of the morning. The mother and daughter suffer in silence; but the neighbours find the daily antics a nuisance. Despite their vehement protests things go from bad to worse.
The last prophet on earth who, addicted to the drug exente, must accept his gift and fight his addiction or risk losing the woman he loves in a battle between her drug dealers and a businessman who has fallen for her mysterious charms.
Sumangala (Kavya Madhavan) is married to a government employee named Viswanathan (Irshad). Viswanathan is committed to his family, which includes their two kids and his mother. Things go horribly wrong when he becomes an alcoholic. Fed up of her husband's incorrigible ways, Sumangala is forced to become a godwoman. This forms the turning point in the film.
Through audio interviews and montage sequences, LSD 25 is the travelogue of a young Nova Scotian woman's trip to Montreal in 1995, and the psychotronic meltdown which she underwent there. Stephanie Preyde herself eloquently and unflinchingly narrates the film, describing the cumulative effects of the copious amounts of acid she took during that summer, the ongoing and Byzantine delusions which she suffered (Montreal as the lost City of Atlantis amongst others), the repudiation of her physical self, her eventual institutilization and journey to "normalcy." In this experimental documentary—set to a trippy acid jazz score—Preyde faces the ongoing repercussion of her trips: a possible misdiagnosis of bipolar disorder instead of temporary acid psychosis, and ironically, lifelong reliance on prescription meds.
The government develops genetically modified marijuana as part of the War on Drugs, and Norbert the Nark accidentally gives the prototype to the Fabulous Furry Freak Brothers. With the government on their trail, Phineas Freakears, Freewheelin' Franklin, and Fat Freddy are forced to leave town, acquiring a remote plot of land in order to fulfill their dream of retiring to grow marijuana in the country. Three women join the Freak Brothers' commune, but because gender politics have changed since the 1970s, they do not see eye to eye with the Brothers' free love philosophy.
As the film opens, a ninety-year-old Louis van Gasteren—a documentary filmmaker and artist famed in the Netherlands—is seated in a video editing suite, watching scenes of himself in the 1960s, a time when “anything was possible.” He reflects on how much he has changed, and that he is that same person and yet is not.