Climax! Okasareru hanayome (1980)

In the middle of a broadcast about Typhoon Yolanda's initial impact, reporter Jiggy Manicad was faced with the reality that he no longer had communication with his station. They were, for all intents and purposes, stranded in Tacloban. With little option, and his crew started the six hour walk to Alto, where the closest broadcast antenna was to be found. Letting the world know what was happening to was a priority, but they were driven by the need to let their families and friends know they were all still alive. Along the way, they encountered residents and victims of the massive typhoon, and with each step it became increasingly clear just how devastating this storm was. This was a storm that was going to change lives.

Anton and Erika started out as friends for five years and got into a romantic relationship for seven years. Anton is a commercial director while Erika is a former band member and becomes his stay-at-home partner. The day finally comes when he asks her to marry him.

Before the three feature films, Mario Schifano directs the camera towards the people around him to create real film diaries. His friends, his time partner and the artists he frequented are portrayed in their everyday life or object of the mechanical gaze of the camera, a filter through which to look at the outside world.

A hitman is tasked to take out ex-mobsters when he suddenly hears a voice that questions his morality.

Joy To The World, A King Is Coming To Town, Jesus Loves Me, O Come, All Ye Faithful, Jesus, What A Wonderful Child!, Deck The Halls/Jingle Bells/Feliz Navidad, Go Tell It On The Mountain, My Heart Would Be Your Bethlehem, Walking In The Light Of God, Born In Bethlehem, Down In Bethlehem, Changed By A Baby Boy, The Greatest Gift Of All, The Savior Of The World Has Come, Glad Tiding, Let There Be Joy, From Heaven’s Point Of View, Away In A Manger, I Saw Him In The Drugstore, Reaching, Silent Night

"This piece, with the generic title Film, is a series of short videos built around one protocol: a snippet of news from a newspaper of the day, is rolled up and then placed on a black-inked surface. On making contact with the liquid, the roll opens and of Its own accord frees itself of the gesture that fashioned it. As it comes alive in this way, the sliver of paper reveals Its hitherto unexposed content; this unpredictable kinematics is evidence of the constant impermanence of news. As well as exploring a certain archaeology of cinema, the mechanism references the passage of time: the ink, whether it is poured or printed, is the ink of ongoing human history." –Ismaïl Bahri

An old Finnish athlete travels alone through eastern Europe with his van.

A turbulent day in a life, painted by air.

Two brothers, Jack and Tom, are in love with the same woman, Molly. While the two brothers go off to war and Molly does her part in the effort, Tom believes that Molly is waiting for him, while in fact, she loves Jack and only turned to Tom on the rebound. Jack and Molly meet while he is on leave, and when he returns to battle, he doesn't know how to handle the situation with Tom.

Roughly chronological, from 3/96 to 11/96, with a coda in spring of 1997: inside compounds of Aum Shinrikyo, a Buddhist sect led by Shoko Asahara. (Members confessed to a murderous sarin attack in the Tokyo subway in 1995.) We see what they eat, where they sleep, and how they respond to media scrutiny, on-going trials, the shrinking of their fortunes, and the criticism of society. Central focus is placed on Hiroshi Araki, a young man who finds himself elevated to chief spokesman for Aum after its leaders are arrested. Araki faces extreme hostility from the Japanese public, who find it hard to believe that most followers of the cult had no idea of the attacks and even harder to understand why these followers remain devoted to the religion, if not the violence.