Dhill (2001)

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.

A doomsday pepper is surprised to find a mysterious box appear in his living room with no trace as to how it could've gotten there.

A historical revolutionary film depicting the struggle of peasants and the Baku proletariat against landowners and Musavatists in 1919.

Drug courier Sal has the war in him. When he meets the charismatic Sasha, his life goes off the rails and he botches an important coup. They flee together and Sal undergoes an astonishing metamorphosis.

While his father lies sick in a hospital room, Albert and his family try to get on with their lives. Their world seems suddenly divided in two: what happens inside the hospital, and the universe outside.

A frontier sheriff copes with a missing corpse, Briton Oscar Wilde and an assassination attempt.

No overview available.

The film is a continuous time-lapse with multiple exposures of the sunset from the same angle and position on 16mm film. The shoot was done in a span of 5 years. The title 13 is because the time-lapse has a 13-second interval per frame.

“If you jerk off a 100 times, you die.” This threat rings through the ears of our main character. One day he has to choose between imminent hell and the impetuousness of adolescence.

The film delicately follows 25-year-old Anna, whose mother has died suddenly. She wants to send her Orthodox mother on her last journey according to customs, but she runs into bureaucratic rules that do not allow Anna to dress her departed mother herself. This conflict brings her together with Maria, a 45-year-old funeral home worker, who in this story represents the hidden fears of death and grief on a deep emotional level.