7 women attempt to rebuild their lives while planning a high end fashion show ( with little to no experience) for a friend raising an autistic child.

After graduating from college, Chen Keyi has always dreamed of making it in the big city. She has already made plans with boyfriend Yang Dahe but family issues cause the two to breakup. Left to fend for herself alone in Beijing, Chen Keyi feels the vulnerability of having no one to depend on. She decides to change her name to Chen Ke in hopes that it'll help her become stronger. One step at a time, Chen Ke evolves and matures through her multiple career changes in her journey through life.

A private detective is hired to catch a serial killer who makes immigrant garment workers his victims.

From the silent era until today, the nightmares that have haunted our screen have been sculpted and embodied by women, but many of those artists have gone unrecognised – a historical oversight this documentary duly takes a chainsaw to. 　　Is horror a man’s world? You might assume so – but you won’t be thinking that way for long once you investigate the vast contribution women have made to horror movies for well over a century. In 2020, award-winning Australian critic Alexandra Heller-Nicholas released the definitive book on the subject: 1000 Women in Horror, 1895–2018, an encyclopaedic work celebrating the many women – filmmakers, actors, producers and technicians – who have shaped the genre since the moment cinema’s light first flickered. 　　In her complementary documentary, US director Donna Davies interviews a stack of powerhouse women in the horror scene, and assembles a bevy of clips from classic and little-known films that women have left their mark on. From filmmaker and programmer Kier-la Janisse (Woodlands Dark and Days Bewitched: A History of Folk Horror, MIFF 2021) and veteran performer Lin Shaye (A Nightmare on Elm Street; the Insidious franchise) to legendary Melbourne film scholars Cerise Howard and Heller-Nicholas herself, interviewees share their personal relationship with horror, addressing each theme the documentary explores sequentially: pregnancy, dolls, ageing, final girls and menstruation, to name just a few. Offering insights into the gender politics often explored through the genre, it’s a discussion that will continue even after you leave the cinema – while the smorgasbord of films referenced will have you scrambling for a pen and paper to take notes. 　　”Sit down, little boys; the grown-ups are talking.” – Alexandra Heller-Nicholas

两臂纹着刺青的白人青年Jerome（Karl Moore 卡尔•慕尔 饰）已经厌倦了纹身、穿钉这些毫无刺激性的小儿科时尚玩法，他希望自己看上去更像男人一些，得到更多人生体验，于是找到朋友之一的雷（Kurt D. Christenson 饰），希望在身体某个地方留下枪眼。对Jerome来说，这种极端的做法既是反对暴力的一种表达手段，又是他寻求认可的方式。当然对雷来说，枪击和针刺根本没什么两样，两者皆需要严谨的准备和程序，最好的结果是，在身体上留下个性、美丽却无害的疤痕……

The dorkiest thing in the world, according to feminist poet Sigrid, is the movie cliche of the young woman who in the morning dons her male lover's shirt, looking adorably "indie cute". But when she begins a relationship with Kåre Tryvle, she has difficulties living up to her ideals. Meanwhile, pregnant performance artist Trine is planning to give birth in a cage, dressed up as Marie Antoinette, on camera, and factory worker Astrid is looking for the son she had adopted away.

The dorkiest thing in the world, according to feminist poet Sigrid, is the movie cliche of the young woman who in the morning dons her male lover's shirt, looking adorably "indie cute". But when she begins a relationship with Kåre Tryvle, she has difficulties living up to her ideals. Meanwhile, pregnant performance artist Trine is planning to give birth in a cage, dressed up as Marie Antoinette, on camera, and factory worker Astrid is looking for the son she had adopted away.

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“笼中女系列三部曲”之一，卡罗尔·杰弗里斯（被称为“杰夫”）是一个天真的美国女人，住在菲律宾。她的毒品交易商的男朋友被抓后，她也被判了十年有期徒刑。她无法忍受恶劣的环境条件和监狱里残暴的护士长，于是她说服她的队友们设法逃脱·.....

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