For a residency organized by the University, Miranda Ackerman, a writer, returns to Caen where she lived a decade earlier. She is astonished to discover that the University is hosting her in the very house where she lived with Richard, her partner at the time. Richard now teaches at the university. As they reconnect, she begins to be disturbed by presences in the house.

Mamzelle, a middle-aged farmer in a rural community, made the decision to come out as a teenager. Instead of fleeing to more supportive LGBTQ+ spaces, she has stayed in the hometown she loved. Now, as she cares for a friend's children, Mamzelle begins to realize what this choice has cost her.

A man is riding his motorcycle down the road from his house to his office. For a moment, the man's eyes are caught by a dark-haired woman walking on the sidewalk.

A servant kills his miser master and buries his corpse. The murderer is haunted by the ghost of his victim....or is it his own conscience?

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An older woman suffering from dementia is convinced that her young live-in nurse out to kill her and take her life's fortune

A television repairman makes a repair.

Influenced by tales of vampires and the fantasy world honed over decades, Edgar Hammet, a self-isolated boy whose parents over indulged him becomes obsessed with the notion that humans can achieve eternal life.

Five years of Bred For Disaster's stunts, pranks, extreme sports and more packed into over sixty minutes of hilarious and horrific footage all caught on tape! Starring the Bred For Disaster stunt team.

The first part puts two families of puppets at odds over a job promotion; the second features Meryl Streep in romantic duets with a dummy (who is voiced by Adam Guettel); the third shows the legged objects, embodied by the Alvin Ailey 2 company, taking the stage to audition for their roles. With no movie technique (but a great cameraman, Ed Lachman), Simmons has assembled her interests as if in a toy chest: old movies and TV commercials, Broadway songs, good-to-feel-bad bathos, and the effluvia of domestic life. Whether intentionally or not, Simmons has made a film about the inevitable post-Warhol art-world nexus of irony, finance, and glamour, a luxury object of empty intentions that the viewer fills with his own need for art, just as the second act’s real-world woman endows a dummy with her romantic hopes and dreams.