The film opens in a bleak police station where celebrated war correspondent Kate Rafter (Seagrove) faces questions from a psychiatrist, Dr Shaw (Kurylenko), as they work through the painful events of Rafter’s life. A horrific incident in war-torn Iraq and the death of her mother (Steed) have brought a haunted Rafter home to Herne Bay, a place she believed she had escaped forever. Her resentful sister (Friel) has not made her sister welcome and her forbearing husband Paul (Miles) fails to broker peace. Whilst packing up her mother’s belongings from her childhood home, Rafter comes to believe there is something strange and terrifying happening in the house next door.

After his identical twin dies of a drug overdose, his guilt-ridden brother must return to his hometown to clean out his brother's apartment, where he's forced into an uneasy relationship with another drug addict-his dead twin's girlfriend.

時間無情地向前走，但記憶能否無憾地留在那一日？延續《呼～》長鏡頭式的創作試驗，邵知恩這次探索的不是鏡頭裡人物與時空的互動，而是在鏡頭之外以年為單位的時間跨度和心理變化。迷惘少女玲在某夜驀然與四年前的自己相遇，促膝談心，各懷千言萬語，卻不知從何說起。如果今天的我們能跟當時的自己對話，想表達的是後悔還是鼓勵？假如那時的我們能向現在的自己發問，說出口的是關懷還是疑惑？這不是流行的穿越劇，而是帶着苦楚的藍調，反躬自問，何去何從。

In Igor Smola’s speculative eco-doc, the pumpjacks, pipes and coolers that extract oil from the earth seem to speak directly to the viewer, narrating their experiences of harvesting the fuel upon which humans have become so critically dependent. Drawing on the thoughts of philosopher Reza Negarestani, My Name is Oil presents the substance as a metaphysical entity with seemingly mystical qualities, channelling the spirits of the many plants and animals whose decay has facilitated the creation of this apparently miraculous material. Capable of seeing the future, the rig’s machinery attempts to alert its human operators to a looming disaster, but caught up in their business — and distracted by the camera — the workers whose lives hang in the balance seem unable to tune into their frequency.