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.

An accomplished TV travel host is gifted a heart-shaped hourglass which gives her a second chance to revisit her past. She eventually has to choose between a new life or the life she knows before the sands of the hourglass run out.

After a migrating duck family alights on their pond with thrilling tales of far-flung places, the Mallard family embarks on a family road trip, from New England, to New York City, to tropical Jamaica.

"The idea for Migration came to Viola while he was walking down a street one rainy day in New York. His glasses were covered with raindrops and he saw that each drop was a lens. Everything around him was covered with little hemispherical lenses that contained optical microcosms of the environment. He was surrounded by worlds within worlds . He couldn't see the images in the beads of water on a passing car but he knew they were there. It was a question of scale. He recalled an exhibition of satellite photos that showed first the east coast, then the New York area, then just Manhattan, then just lower Manhattan . What fascinated him was not that one could see buildings from that distance, but that such detail wasn't the result of a zoom or a blowup as we normally understand them. They hadn't used four different telephoto lenses and made four different pictures . It was all one computer-enhanced electronic image, a database. The information in the closeup existed already in the larger-scale".

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

In the heart of the city, animals are just a cup of coffee away. But quietly, their lives are changing. In December 2023, amendments to the Wildlife Protection and Zoo Acts were passed—after a four-year grace period, exhibition animals can no longer remain here. So where should they go? Every relationship needs the right distance. What do you think is the right distance between humans and animals?

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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