Bron Lewis - Obviously (2025)

Tells about Adin with his father and mother who are waiting for the announcement for Adin to go to the next level of education. Although enthusiastic, the worries of Mr and Mrs were mixed with the prayers and hopes that were held for Adin in the future.

An old man is isolated in his home. Haunted by the loss of his beloved, he embarks upon a journey to return to her.

Young man has his dreams come true when the sexy new maid seduces him. But she also has a secret that leads to trouble.

Kim and Pie are in love, but after graduation they have to travel into two different directions for their internship; Kim is going to work in a farm in the northern province of Nan, while Pie is going South to work in a fishery center. Their love is being tested by the distance between them.

When campers and staff at Camp Manabe mysteriously begin disappearing and turning into gruesome corpses, paranoid Ronnie can't shake the memory of a series of grisly murders that took place at Camp Arawak two decades earlier.

Interpol investigates the freelance killings of drug and porn peddlers.

‘RETURN’ follows Torstein Horgmo, Mikey Ciccarelli, Mons Røisland, Brandon Cocard, Brandon Davis, and Raibu Katayama as they push the boundaries of what can be accomplished snowboarding when innovative minds join forces.

Ronnie lost her brother. Faye lost her first love. These two best friends set off on a debaucherous road trip to the mountains to get over the death of the man they both loved.

Two young children and an adult in a small town have an encounter with an alien spaceship. 25 years later the children are reunited as adults in the same town which is now beset by strange cattle mutilations. Matters become worse when the cattle mutilations are joined by human murders and mutilations.

The Red Mountain Tribe hangs out in my backyard. "Lipton's lovely home movie PEOPLE, in its affection for valuable inconsequential gestures, indicates in the course of its three minutes why there has to be a continuing alternative to the commercial cinema." – Roger Greenspun, The New York Times