The film consists largely of a series of interviews with female filmmakers from several different countries and filmmaking eras. Some, such as Agnès Varda and Catherine Breillat (both from France), have been making films for decades in a conscious effort to provide an alternative to the male filmmaking model; others, such as Moufida Tlatli (Tunisia) and Carine Adler (England), are relative newcomers to directing, and their approaches seem more personal and less political. The film as a whole manages to cover some important topics in the feminist debate about film -- how does one construct a female gaze, how can one film nude bodies without objectifying the actors (of either sex), what constitutes a strong female role -- while also making it clear that “women’s film” comprises as many different approaches to filmmaking as there are female filmmakers.

Bun-Yi is sold to a bar for her widowed mother and young sister. There, she meets Dal-Jung and through his arrangement, she gets married into the rural rich Choi family as the wife of the youngest son. She lives as if she were housemaid looking after her mentally deficient husband Young-Ku, parents-in-law, and sister-in-law, and gives birth to a precious son. But she is driven out of the house because of mother-in-law and sister-in-law's evil plot. Going around from restaurants to restaurants, she becomes a owner of a restaurant and lives helping the poor children. Later, she comes to meet Young-Ku working as a shoe shining man in Busan. Mother-in-law and sister-in-law regret their faults in past and Bun-Yi regains their old house. Thus, all of them return to their hometown and live a happy life.

Bun-Yi is sold to a bar for her widowed mother and young sister. There, she meets Dal-Jung and through his arrangement, she gets married into the rural rich Choi family as the wife of the youngest son. She lives as if she were housemaid looking after her mentally deficient husband Young-Ku, parents-in-law, and sister-in-law, and gives birth to a precious son. But she is driven out of the house because of mother-in-law and sister-in-law's evil plot. Going around from restaurants to restaurants, she becomes a owner of a restaurant and lives helping the poor children. Later, she comes to meet Young-Ku working as a shoe shining man in Busan. Mother-in-law and sister-in-law regret their faults in past and Bun-Yi regains their old house. Thus, all of them return to their hometown and live a happy life.

Contact—so tactile, so evocative of the touch of one person on another, physically and emotionally. Trace—a way to get back to an earlier point and a reckoning with the remains of that initial encounter. Filmmaker Lynne Sachs has saved every business card anyone has ever given her. After 40 years of collecting, she recognizes their mnemonic powers. With 600 cards in her grasp, Sachs contemplates the impact of these haptic exchanges. In both real and imagined ways, her essay teases apart their vivid resonances, entwining emotional memory with geopolitical history through visual abstraction, music, and a poet’s sense of introspection.

"My Nappy Roots" explores the politics, culture and history of African American hair. Is there such a thing as "Good and Bad" hair? How has the Eurocentric ideal of beauty influenced black hair through modern history? "My Nappy Roots" will vibrantly depict some of the complex social, political and cultural influences that have dominated the dialogue surrounding African and African American hairstyles from styling patterns and cultural trends to the business of black hair care products, services and advertising. The film will use the evolution of black hairstyles as a touchstone to address the broader struggle of African American people in their search for social control, identity and economic independence.

Ditte owns a gallery, has a loving boyfriend and her dream job in New York is within reach. But Ditte is also the youngest generation of the famous bakery dynasty, Rheinwald, and when her beloved, but dominating father comes down with a serious illness, Ditte is faced with the grueling decision: To pursue her own dreams, or to continue the legacy of her family.

Vincent was born near Paris, but has cut off every link with his roots. Maria, fifteen years younger, grew up in Ostia, but no longer sees her family. Together they form a couple that does not seem to need anyone. They lead a secluded life in contemporary Rome, indolent and distracted. Furthermore, Vincent and Maria are good at blending in with their environment. When they return home, they make love with the passion of young lovers in a suburban apartment that she has carefully furnished. Yet, on closer inspection, their everyday life betrays what lies behind their seemingly normal appearance: a project carried out by him with a clear determination and accepted by her only by virtue of unconditional love. A plan to help couples who cannot have children. Maria decides that it is time to create a real family. This choice has an inevitable consequence: the rebellion against Vincent, the man of her life.

Taken in by the yakuza at a young age, Kenji swears allegiance to his old-school boss, pledging to adhere to the family code amid ever-changing times.

A pickpocket Jeong-eun comes back home after being in prison for 2 years. Her family consists of her father, Joo-suk, who lost one of his eyesight and 8-year-old brother. Joo-suk loves his daughter but he is very reluctant to show it. Joo-suk is worried about Jeong-eun being close with the local gangster - Chang-won and makes a deal with him that ends in tragedy?

A dog finds the meaning of his own existence through the lives of the humans he meets.