At 24, Paula wants to be an actress, but if she doesn't find her rent money she'll be homeless in 24 hours. Paula is so desperate that she seriously contemplates becoming a prostitute.

At the New Jersey shore, young Julie Peterson (Scout Taylor-Compton) saves the life of a drifter who's on the skids. Going one further, Julie resolves to save him emotionally, too, by instilling the gift of hope. But first, she has to contend with a local sheriff who wants the drifter gone and an admirer who's jealous of Julie's relationship with her new "project." Soon, a chain of events is set in motion that will change everyone's lives.

At the New Jersey shore, young Julie Peterson (Scout Taylor-Compton) saves the life of a drifter who's on the skids. Going one further, Julie resolves to save him emotionally, too, by instilling the gift of hope. But first, she has to contend with a local sheriff who wants the drifter gone and an admirer who's jealous of Julie's relationship with her new "project." Soon, a chain of events is set in motion that will change everyone's lives.

Arriving in the US with a background in abstract art, opera, and film—including work with German director Werner Schroeter—Vogl began making Super8 films in New York that stripped away the stylistic markers of Hollywood, New Wave cinema of the 1960s and ’70s, and classic avant-garde film, leaving only traces of their generic conventions. For the first hour of OK Today Tomorrow, he stages a series of fraught encounters around the city between four gentrified New Yorkers before abandoning his vague narrative of youthful angst altogether in favor of documenting the urban landscape itself. The dusk-to-dawn “city symphony” that ends the film resembles similar Super8 social studies by Vogl’s uptown contemporary John Ahearn; both recorded the daily lives of working-class black and immigrant communities on the streets of a city on the verge of the corporate takeover and sweeping gentrification that followed in the 1980s and ’90s. Preserved by The Museum of Modern Art, New York.

名导演德西卡的一部群戏，分为三部分。第一部讲述一个专门在黑市偷卖外国香烟的女人，从未尝过铁窗的滋味，因为当时法律规定不能逮捕怀孕的妇女和产后六个月的妇女。所以她在生产后就催丈夫做爱，逃过入狱的命运，不过最后因怀孕失败还是走进了监狱。第二部讲述一位富婆迷恋比她年轻的作家，他们有一次开着高级轿车兜风，因气氛热烈而导致撞车，富婆顿觉索然无味，遂拦车扬长而去。第三部讲述一位高级妓女与一位神学院的学生相恋。

A man, released after a jail term for a crime he did not commit, raises a gang to go after the man who framed him.

Leo is taken prisoner before his departure home. The businessman is accused of working for American intelligence. He insists he is innocent, but his time in jail will change him forever.

Bhavna Dayal and Maya Jalan had been fellow collegians and close friends, both come from very wealthy families. Bhavna is in love with another ex-fellow collegian, Tarun Haksar, who also comes from a wealthy family, and is also in love with Bhavna. Their respective families' expect both to marry each other. However, Tarun and Maya suddenly announce their engagement, and get married, leaving a shocked and heart-broken Bhavna to deal with this situation on her own. She eventually breaks off all contact with her former lover and friend respectively. One night, several months later, a disturbed Tarun returns to her life and apartment, and stays there overnight. The next day she is shocked to find out that Maya has been shot dead, and the police suspect Tarun of killing her. The question remains if Tarun had spent the entire night with Bhavna, then who killed Maya, and further why did Tarun decide to return to Bhavna's life all of a sudden?

It’s December 1999, and 25-year-old Jonah has just graduated from film school. As the new millennium begins, Jonah marries his longtime sweetheart Lila. Over the course of six months, the couple meet a number of interesting people, including Irina, an exiled Russian actress, as well as spending their time with Jonah’s sister Cecile and his filmmaking mentor Anziano. The discussions Jonah has with these friends and strangers help him to gain some perspective on his life and the new millennium.