Aksel Mehmet

15-year-old Ahmet, from a remote Yuruk village in North Macedonia, finds refuge in music while navigating his father’s expectations, a conservative community, and his first experience with love — a girl already promised to someone else.

Spitz is the German-Jewish coach of the football team Macedonia during World War II. Under his leadership, the team fights to become the champion of Bulgaria's National Football League

After waking up with no memory of how she got home, a spiraling woman desperately tries to reconstruct a lost night, fearing she has single-handedly ruined her entire life in a single evening.

Haunted by professional rejection and obsessive self-improvement routines, a young artist faces a raw internal confrontation with societal pressures during a crowded exhibition opening in Skopje.

The film tells a story about crime, money, greed and the value of the human soul.

A young Italian actress goes to visit her lover in Macedonia during the world war two. Her playfulness and nonchalant behavior leads to a tragic end.

An 80-year-old man who loves life and behaves like a child is taken to a nursing home, where his life changes drastically. He is faced with the challenge of living by other people’s rules and tries to adapt to a world that is new and unacceptable to him.

Vele can’t afford to buy the expensive medications for his father who has cancer. Desperate, he steals marijuana from some criminals, makes a cake with it and gives it to his father, hoping it will reduce his pain. His father’s health miraculously improves, but Vele is suddenly confronted by neighbors who demand the recipe for the “remedial” cake and by the criminals who want their drugs back.

A Macedonian family from Bitola at the turn of the twentieth century tries to survive, preserve its roots and remain together.

KARMA is a short story about the faith of several people, mixed up in a chain of events.

Cut Here is a story about two contrasting worlds and outlooks on life: the world of shallow consumer-ism and trashy mainstream, and the world of marginalized individualism. Nina puts on her best ‘self ’—expensive clothes, lots of makeup, etc.—and leaves her kitsch luxury home. Anna unchains her old bicycle and leaves her semi-derelict building. Nina almost crashes into Anna as she carelessly exits her garage with her girly car. She yells a couple of insults at Anna, and then both resume their journeys to their respective destinations. Their destinations will tell us a lot about the different directions in which their lives are moving.