Written and directed by Gregory Wild, the film follows the misadventures of Wynona-Sue Turnpike (Barbara Chamberlin, who also wrote the film’s score) on a raucous and unlikely road to Nashville superstardom. Backed up by a pair of transvestite guardian angels (played by The Big Wigs), Wynona-Sue faces a variety of indignities including an abusive husband, the threat of life imprisonment and venereal disease.

A young couple's "alone time" is interrupted by Trav, an annoying best friend to Davis. Trav was recently dumped and feeling horrible about himself. He turns his attention to Irene hoping she'll cheer him up. Irene finds an unusual way to lift his spirits with the use of peanut butter and a glimpse of what every guy wants to sneak a peak at.

In Canada, more than 500 cases of Aboriginal women have gone missing or been murdered since the 1960s. Half the cases have never been solved. Now find out what First Nation leaders are doing to try and swing the pendulum in the other direction.

When two small town waitresses have had it with living an uneventful existence, they take to the Highway to find fun and adventure. It doesn't take long to find trouble instead and a quick change of plans points them towards the border. A chance meeting with a lone hitchhiker changes their plans again and this time they find themselves a day late and dollar short. When it comes to running from the law, you always have to be one step ahead...

A serial killer is on the loose, a frustrated cop is hot on his heels and a pair of young lovers happen to find themselves in midst of it all.

A teenage hitchhiker traverses a lonely mountain highway and begins to pick a mysterious radio broadcast rife with ominous reports of the near future.

This movie is a crime thriller. Suresh Gopi is a Research and Analysis Wing (RAW) officer who comes in disguise to a colony to investigate a bomb blast which killed 30 innocent college students. Bhanupriya falls in love with Suresh Gopi and the rest of the story revolves around how Suresh Gopi solves the case.

Hilary Harris’ nervy tour of Robert Moses’ New York hearkens back to the classic city symphonies of the 1920s but cut to fit the “go go go” energy of the new era. “The most exciting thing in film is movement,” Harris once wrote, and in Highway he shows why, shooting from a moving car for the road itself of its ramps, signs and overall pretzel logic. The film can be enjoyed purely as a riot of graphic forms, but at a deeper level Harris is revising the traditional panorama to capture the automotive experience of urban space. He peppers the expressway view with all manner of camera effects, but it’s finally his simple fascination with the changing shape of the road at speed that makes the screen come alive. Bronze medalist at the Brussels International Experimental Film Festival in 1958, Highway today appears a snappy detour between “On the Road” (published the year before) and the early films of the French New Wave (just around the bend). —Max Goldberg, fandor.com

Highway is a film of that escape which all of us yearn for. It is an attempt to see our own reflections in today’s time.