Dr Shivani Dutt living and working in a hospital in London, notices some of her colleagues delving in organ trafficking. Before she can expose them she is involved in an accident, leaving her on a life support machine.

Two strangers have a strong impact on a young man who's spending some time with his family in this drama from Germany. Seventeen-year-old Anton has been struggling to make sense of his life since his father committed suicide when Anton was attending boarding school. Anton's mother, Luiza, wants to mend her strained relationship with her son and introduce him to her boyfriend, Paul, so she arranges for them to take a vacation together.

Three young ad-men enter the woods for a photo shoot, but a girlfriend's mysterious disappearance sparks a harrowing descent into unreality.

I see 　　You see 　　I want to see how you see 　　You want to see how I see 　　I see how you are seeing me 　　You see how I am seeing you

I see 　　You see 　　I want to see how you see 　　You want to see how I see 　　I see how you are seeing me 　　You see how I am seeing you

這段影片試圖通過靜態與動態影像的組合呈現碎片化的城鎮記憶。這些記憶是非連續的片段，並且被去除了原有的地理上的、時間上的和文化上的語境。它們在不斷變化的過程中塑造了我們對周圍生活環境的認知，但卻無法將我們與真實的記憶聯繫起來。最終在它們的影響下，我們將徘徊在現實與虛幻、過去與現在、地方與非地方之間的碎片中。 　　This experimental film was originally a video installation. It showcases fragments of urban recollections that one fails to place. These fragments are discrete, out-of-context and removed from geographical, chronological, and cultural frameworks. The still and motion images function in different manners of shaping our impressions to the urban landscape but both fail to connect us to the real memories. Eventually they linger as pieces in between the reality and fantasy, past and present, places and non-places.

這段影片試圖通過靜態與動態影像的組合呈現碎片化的城鎮記憶。這些記憶是非連續的片段，並且被去除了原有的地理上的、時間上的和文化上的語境。它們在不斷變化的過程中塑造了我們對周圍生活環境的認知，但卻無法將我們與真實的記憶聯繫起來。最終在它們的影響下，我們將徘徊在現實與虛幻、過去與現在、地方與非地方之間的碎片中。 　　This experimental film was originally a video installation. It showcases fragments of urban recollections that one fails to place. These fragments are discrete, out-of-context and removed from geographical, chronological, and cultural frameworks. The still and motion images function in different manners of shaping our impressions to the urban landscape but both fail to connect us to the real memories. Eventually they linger as pieces in between the reality and fantasy, past and present, places and non-places.

Richard Briers plays Godfrey Spry, who, having been hit on the head in a freak accident, ends up with an attention span of just 30 seconds. As a result he begins to obsess over TV commercials and begins to take advertising claims literally, causing erratic twists in his behaviour and complicating the lives of all those around him.

A 17-year-old boy buys mini-cameras and displays the footage online at I-see-you.com. The cash rolls in as the site becomes a major hit. Everyone seems to have fun until it all comes crashing down....