The Guardian

Pride is the first of the seven deadly sins. The introduction is made through early allegorical forms and figures (triumphal procession, dance of death, Baroque tragedy etc.) The triumphal procession of the giant haystack as a symbol of human vanities becomes a military parade of abrupt, functional and arrogant gestures. The most diverse musical fragments and rhythms intone the montage of details in the staged triumphal procession, juxtaposed with documentary images, including marches, ticker-tape parades and military review.

A veteran US Secret Service agent must thwart the covert conspiracy of an enemy spy network that threatens the world's safety.

Hayriye is afraid of the future. Every day, while waiting for his beloved Ali to return from fishing on the long wooden pier, she disappears one day; it is Ali' turn to wait.

In Tupelo, Mississippi, in 1962, a poor, young, single mother is impregnated by a womanizing has-been singer. Her mother tries to force her to give the child away but our heroine isn't sure. As she tries to solve her problems she receives assistance from unlikely quarters: a lesbian gang and the feminist/nudist/stripper/adult film star they idolize.

Hamlet returns home from drama school in United States, after the cold-blooded assassination of her father by her uncle, who has married Hamlet’s mother. After seeing her father’s ghost, Hamlet decides to feign insanity, in order to get to the truth.

Upon his return as a millionaire, Ali, with the repression complex he suffered years ago, spreads fear and death around him and takes brutal revenge on the woman he loves.

Set in modern upper-crust Manhattan, an exploration of love and commitment as seen through the eyes of a charming perpetual bachelor questioning his single state and his enthusiastically married, slightly envious friends.

A beautiful reporter goes to the front line to find a soldier with whom she fell in love through correspondences.

After a relaxing anniversary cruise, Andrea and his wife Barbara are dropped off in Istanbul, Turkey. There, they meet Andrea’s reserved assistant Silvia and his Turkish colleague Omar, who hasn’t been back to his home country in fifteen years. Andrea’s secretary has arranged a luxurious seafront villa for them to stay in while they’re in the country. Upon arriving at the villa, Omar experiences an unsettling feeling of déjà vu, as though he has been in the house before, while the married couple can’t stop bickering. However, the vacation soon turns into a nightmare when mysterious and deadly events begin to unfold.

The budding friendship between two very different neighbors takes a tragic turn when David runs over a young woman and causes her death. At Robert's insistence David leaves her lying and flees. While Robert hopes his new neighbor will now be irreversibly bound to him, David is increasingly devoured by feelings of guilt. When he meets Vanessa, the sister of his victim, he believes he can put things right. But he hasn't taken Robert into account. Robert is prepared to do anything to keep his neighbor to himself.

Two women rebel against the traditions of a village society.

Vadim, a part-time dump truck driver in Leningrad, picks up an extremely young woman, along with a newborn baby. Vadim is forced to spend the rest of his day with Anna, helping her untangle herself from unpleasant, dramatic, and even tragic situations – and she and she alone is to blame for all of them. The baby, which Anna stole in order to make an impression on an estranged lover, is finally returned to its parents, but the problems that the theft caused remain.

In Passing is a collaboration between seven different filmmakers from around the world in response to Jesse Richards' 2008 Remodernist Film Manifesto.