At 17 Leigh-Anne Williams has a six month old baby to look after, with only the help of three teenage squatters who flog stolen gear to make ends meet. A neighbour (actually from Turkey) across the street becomes target to her growing paranoia that Social Services are going to take her daughter, Rebecca, away from her. Her behaviour becoming increasingly desperate as her delusions over her neighbour grow.

Shuichi Furukawa receives a phone call from his mother. She reminds him that they are moving the next day. The following day, Shuichi takes a train ride back to his hometown. He arrives at his parents home, but nobody is home. He looks for the house key under a potted plant but can't find the key. He starts to thinks back to his childhood days in his parents home. Shuichi grew up with his younger brother, older sister, father who ran a shoe making business out of their garage and mother. Shuichi grew up with a crush on an older woman who lived next door and he loved to make piggy banks out of empty whiskey bottles. One day on a school picnic, Shuichi's classmates grabbed a lunchbox from a fellow student and eventually gave the lunch box to Shuichi. All the other students chanted "throw it away," while Shuichi's former friend looked on in despair.

Mamma Moo wants to see the world. Crow has already seen everything. When Stork shows up at the Farm and starts building a nest, Crow is challenged by someone who actually traveled the whole world. Mamma Moo gets the feeling that there is so much more out there to see than her usual pasture, Crow tries his hardest to convince her to stay where she belongs – like a normal cow.

An avant-garde figure in filmmaking, David Lynch introduced mainstream audiences to art-house films. 　　Now the Oscar-nominated director of Mulholland Drive teaches his cross-disciplinary creative process. 　　Learn how he catches ideas, translates them into a narrative, and moves beyond formulaic storytelling. Embrace the art life in David’s MasterClass and learn to test the boundaries of your own artistic expression in any medium.

An avant-garde figure in filmmaking, David Lynch introduced mainstream audiences to art-house films. 　　Now the Oscar-nominated director of Mulholland Drive teaches his cross-disciplinary creative process. 　　Learn how he catches ideas, translates them into a narrative, and moves beyond formulaic storytelling. Embrace the art life in David’s MasterClass and learn to test the boundaries of your own artistic expression in any medium.

蓦然竖起的食指，触碰间的心意相通。在这个忽明忽暗的黑白世界里，女人时不时地按下电灯开关，像是跟自己的影子做着游戏，又像是在刻意地操控着光明与黑暗。她在地板上缓慢地蠕动着，发出嚓嚓的摩擦声。食指相交后的异想世界，她的身影诞生出了一个男人的身体。一样的动作，一样的表情，却分不清楚到底哪个才是真实。当他们再次食指互碰的时候，他们的身份交换了。穿越而过的还有耳边水面的嘀嗒声。 　　本部极简主义风格的黑白动画短片，讲述了一场象征意味强烈的光影游戏。这场游戏间的较量，是光明和黑暗的相互对比，是男人与女人之间的故事，也是一个关于平行宇宙的思考。导演迈克尔·弗雷执导试图用这部简约而短小的作品，引发我们对于平行空间的思考：如果我们有另外一个平行宇宙，那么这两个宇宙中的人如何交集？我们是否应该保持着宇宙中的这份平衡？

蓦然竖起的食指，触碰间的心意相通。在这个忽明忽暗的黑白世界里，女人时不时地按下电灯开关，像是跟自己的影子做着游戏，又像是在刻意地操控着光明与黑暗。她在地板上缓慢地蠕动着，发出嚓嚓的摩擦声。食指相交后的异想世界，她的身影诞生出了一个男人的身体。一样的动作，一样的表情，却分不清楚到底哪个才是真实。当他们再次食指互碰的时候，他们的身份交换了。穿越而过的还有耳边水面的嘀嗒声。 　　本部极简主义风格的黑白动画短片，讲述了一场象征意味强烈的光影游戏。这场游戏间的较量，是光明和黑暗的相互对比，是男人与女人之间的故事，也是一个关于平行宇宙的思考。导演迈克尔·弗雷执导试图用这部简约而短小的作品，引发我们对于平行空间的思考：如果我们有另外一个平行宇宙，那么这两个宇宙中的人如何交集？我们是否应该保持着宇宙中的这份平衡？

Two Hollywood filmmakers attempt to find Morgan Freeman in Mississippi and convince him to star in their next movie. When life gets in their way they soon discover what matters to them most.

The stories of some of the biggest artists in music, recalling the romance and adventure, as well as the idiocy and chaos, of their time on the road. While the world has changed, the custom has not changed. There is no other way to know whether you can make it in this business. You have to get in the van.

Serial monogamist Brian O'Hara hits his mid-30s and suddenly realizes he's the last bachelor standing in his circle of friends. Not averse to the happily ever after his friends have achieved, Brian wonders whether he'll ever find Mrs. Right. The fact that he's in love with his best friend's girlfriend doesn't help his chances.