Katarina Ilievska Siljanovska

Macedonian TV drama.

“Yellow Tulips Only” is a story of Gigo, writer and independent artist who lives a single life as an introvert and shy person. Once he’s been invited to coffee by a female friend, and it gives him hope that he won’t be alone after this appointment. He has heard that this woman loves yellow tulips, and trying to make a good impression, he decides to find yellow tulips no matter what.

Three Macedonian women have to contend with control over their bodies, tradition, loyalty, pregnancy and adoption. They have not set out to change the world or society, but their struggle to become mothers makes them unlikely heroines. The three bittersweet stories, one medieval, two contemporary, mirror and contrast one another, exploring themes of love, trust and motherhood.

An ailing communist reflects on a young boy childhood in Stalinist Yugoslavia.

Alexander Philipopoulos, a famous journalist in a French political magazine, is returning to his birthplace in northern Greece, looking for the truth about his father Lazarus, who lived as political emigrant in the neighboring country of Macedonia.

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 short movie based on the story “The Little Girl with the Matches” by Hans-Christian Andersen. The main character in the story is a young girl (10–11 years old), a homeless orphan who instead of begging is selling matches on the side of the street. The movie follows the death of the little girl who dies from cold on New Year's Eve.

Is it a serial killer with just two victims, or something bigger? Maxim’s investigation is tangled with revenge, police corruption, and possible mafia ties. Suspicion looms—one killer, or more? The tension builds to one question: Who killed Frosina—and why? Or was she not the first?

At the end of Part 1, just as the truth seemed clear, new questions arose: Who masterminded the plan? Who committed the murders? And most importantly—where is Maxim and Anna's father?