Reporter Camille Preaker confronts the psychological demons from her past when she returns to her hometown to investigate the murders of two young girls.

40-year-old Sociology professor Hye-jung falls for a 21-year-old Usang, a male student who helps her project research on women's extramarital affair. Their prohibited love and secrets are watched and told by two secretive observers. They are her copy machine and his digital camera.

A young woman seeks to rebuild her life when she takes work at an antique store. She regains her confidence from the kind souls who own the shop, until faces from her traumatic past start to surface.

A curmudgeonly gay dwarf and his unstable, alien-obsessed neighbor are thrown together on an impossible road trip that will alter their strange friendship (and their sense of reality) forever.

讲述记者Camile Preaker，刚刚从精神病院出来就面临了不少麻烦：她必须回到她的家乡小镇去报道两名未成年少女的谋杀事件。Camile一直和她的母亲还有同母异父的古怪妹妹很疏远，但却被逼和她们住在一起。此外随着调查的深入，她发现自己和被害者有很多共同点，在战胜自己心魔的同时她还要慢慢挖掘故事的真相。

In a suburban landscape, the lives of several families interlace with loss, despair and personal crisis. Esther Gold has lost focus on all but caring for her comatose son, Paul, and neglects her daughter and husband. Lawyer Jim Train is devoted to his career, not his family. Helen Christianson wants to find a new spark in life, while Annette Jennings tries to rebuild hers.

A powerful and intimate portrait, JOAN MITCHELL: PORTRAIT OF AN ABSTRACT PAINTER captures Mitchell's independent spirit and testifies eloquently to Mitchell's art. One of the great abstract painters of the 20th century, Mitchell was an active participant of New York's dynamic Abstract Expressionist scene and hung out with fellow painters Franz Kline, Willem de Kooning and Philip Guston, as well as poets Frank O'Hara, James Schuyler and John Ashbery. In the mid-fifties, she moved to Paris, where she was part of a circle of friends that included Pierre Matisse, Samuel Beckett and Alberto Giacometti. This elegantly edited documentary weaves together interviews with the acerbic Mitchell and other leading painters and critics, while letting her stunning pictures dominate the film. Stephen Holden of the New York Times says, "The canvases have grand chaotic romanticism. While celebrating the physical universe with an ecstatic love of color, they don't shy away from expressing a harsh, feral apprehension of nature and its violence."