UNDERNEATH is a grassroots, self-financed anthology in the vein of CREEPSHOW and is comprised of five chapters, an epilogue, and several mind-bending vignettes that are all bound together by something unnatural and sinister.

Leung Siu-Tong is an experienced undercover agent who returns from a long-term assignment in Mainland China to teach new undercover recruits at Hong Kong Police's Criminal Intelligence Bureau (CIB). During this time, he befriends triad member Michael So, who only agrees to the relationship because he sees it as a stepping stone to the role of gang leader. Meanwhile, conflict at the CIB department ensues when Siu-Tong forms a tentative romantic relationship with his supervisor Jodie Chow.

Oryu the Red Peony, a wandering female yakuza on a soul-searching journey after the death of her father. After collecting her sickly follower from jail, she is taken in by a fishing village. Feeling indebted to their generosity, she stays to work for the village and promises to leave her yakuza ways behind. When a dispute breaks out for the gambling rights to a local festival, the villagers are harassed by a gang of thugs. When the harassment turns violent, Oryu must decide wither to keep her promise or protect the villagers.

A young cameraman receives a letter from an old girlfriend, announcing that she is to hold a photo exhibition in the United States. Having heard rumors that she has died, he follows his curiosity to New York City.

Vittorio Innocente, a young man, estranged from the tragedies of his Italian immigrant family, has spent his adult life denying his past. When his estranged father starts to stalk Vittorio's sister, Rita, with murderous intent, Vittorio is moved to return to his family and uncover the decades-old secrets that have torn his family apart.

Elizabeth Costello is invited to Appleton College's annual literary seminar as a guest lecturer. Despite her stature as a celebrated novelist, she opts not to give lectures on literature or writing, but on animal cruelty.

A coming of age story for Del Jordan, growing up first on the outskirts, and later in the centre, of the small, southern Ontario town of Jubilee. Del is portrayed as something of an outsider, unsatisfied with small-town life though unwilling to acknowledge the similarities between herself and her mother, who also seeks to expand her mind beyond the limited experiences of Jubilee.

When his widower father starts dating a darkly mesmerizing woman, 12-year-old Robin believes she's witch filled with nefarious intent for his family. But as he tries to rid the house of her, Robin's delicate mind descends into a sinister world.

Algerian director Hamid Benamra turns his focus to Mustapha Boutadjine, a charming, mercurial collage artist in Paris whose very work methods embody resistance, and celebrate those who work to liberate others. Boutadjine creates his portraits of Third World artists such as Miriam Makeba, and Algerian figures such as Assia Djebar from pieces of paper torn from high end fashion magazines and other, glossy, glitzy publications. Using this material is as much an act of rejecting bourgeois standards, which are often anti-North African in France, as much as elevating these figures and making them the social and visual standard against which we should judge ourselves, not the runway models of Chanel.

Challenging the dominant histories of Scotland, this tender work invites us to listen to the landscape — hearing echoes of the marginalised voices we have been made to forget. 　　This film is a cry against the erasure of cultures, languages and identities, told with passion and splendour. History forgets and history remembers, in a process that is not neutral. A singular narrative dominates: books are burnt, dissenters are imprisoned and memories fade. But history is not over. Our movements not only send vibrations towards the future, but into the past. Four queer voices speak in striking locations across Scotland, asking us whose bodies moved the wheels of our industry, whose hands placed the stones of our castles and whose fingers made room in the earth for our crops. When the history books don’t tell the full story, we look to the land itself.