Na-young works at a post office and is sick and tired of being around her shamefully unyielding mother and her pushover father who's excessively nice. The only thing that she can look forward to is her trip abroad in a few days. But one day, her father leaves home without any notice. Her mother doesn't care what happens to him and doesn't care to look for him. Na-young has no choice but to give up her dream trip abroad and to search for her father instead. Once she arrives at her parents' hometown, Na-young is shocked to meet someone she'd never expect, even in her dreams.

A woman and her young toddler escape the city to a small coastal town. She checks in to a run-down motel by the sea. Burdened by a troubled past, she hangs on vulnerably by a thread. As night approaches, ghastly occurrences haunt her movements and actions as she prepares for a horrific act. However, a chance encounter with a stranger changes the course of events. Like her, the stranger harbors a burden of his own and their meeting brings to surface their deeply buried emotions and hope/fear for the future, culminating in a beautiful, redemptive and serendipitous ending.

Dating My Mother explores the intimate and sometimes tumultuous relationship between a single mother and her gay son as they navigate the dizzying world of online dating.

Despite heavy rain, landslides, scavengers and bulldozers, Eki hunts relentlessly through a colossal landfill for objects to remember his late mother by, desperate to preserve her memory.

Writes Ando, "Oh! My Mother was the first work I made using a newly bought 16mm camera I had purchased with the writer Shuji Terayama in Paris. This piece was selected for the Oberhausen International Film Festival. In 1969, there were, of course, no video cameras like ones we see now, and color TVs were only found at broadcast television studios. I had just been employed at the TBS (Tokyo Broadcasting System), and I often snuck into the studios after hours to experiment with the equipment. Oh! My Mother was made using the feedback effect, which is produced by infinitely expanding the image by looping the video." 　　Kohei Ando produced experimental films for Shuji Terayama's theater company, Tenjo Sajiki. Using a 16mm camera he purchased with Terayama, Ando produced first film, Oh! My Mother (1968). His works include My Sons (1971), On The Far Side of Twilight (1994), and Whispers of Vermeer (1998). He has won awards at the Hawaii International Film Festival and the Monterey Electronic Cinema Festival.

Only one woman had the unique privilege to call Jesus her son. Mary was blessed to be the mother of the Savior sent by God to rescue the world from death. Watch as Mary experiences the miracle of Jesus' coming and humbly grows in her understanding that her son is also her Savior. The good news is that Jesus is your Savior too.

A mother steals her estranged daughter's identity to escape an abusive boyfriend but when he finds her again, she's threatened all the more. But is the ex-boyfriend behind the threat or someone else? It's the forgiving daughter who must save her mother from the exposed villain.

Hubert, a brash 17-year-old, is confused and torn by a love-hate relationship with his mother that consumes him more and more each day. After distressing ordeals and tragic episodes, Hubert will find his mother on the banks of Saint Lawrence river, where he grew up, and where a murder will be committed: the murder of childhood.

Glasgow-based artist Phil Collins’s film Soy Mi Madre examines the immigrant populations of Colorado’s Roaring Fork Valley, a sizable percentage of which hail from northwestern Mexico. The region relies heavily on service and maintenance work provided largely through this population, who often commute to work in Aspen. Loosely inspired by Jean Genet’s The Maids—a seminal example of Theatre of the Absurd that renders surreal the intricate power dynamics that exist between people of divergent socioeconomic groups and exploits the volatility of social identity—Soy Mi Madre portrays the social realities of this region through the melodramatic lens of the telenovela. Reproduced in this volume through a generous selection of stills, the film uses popular Mexican television actors and crew, including Patricia Reyes Spindola, Zaide Silvia Guitérrez, Veronica Langer, and Salvador Parra, as well as members of the transsexual prostitute community of Mexico City.