Missing in action in Vietnam for thirty nine years, the remains of Lt. Jack E. Buchannon, U.S.M.C., are found and identified. He is brought home and awarded the medal of honor and is buried as a fallen hero. His three childhood best friends, all ex-marines and Vietnam veterans, get together after attending the funeral to raise a toast, look back on their lives, their friendships and their service to the country.

The film navigates this aftermath observing the signs of an evacuated civilisation. Marine life is represented in murals and as forms of architectural ornamentation. A dolphin remains still, joyfully stuck in mid air, turned to stone. In contrast to constant life and movement underwater, the other side remains still, quiet, and solid in a concrete-made world. Occasionally, the voices projected from the speakers interrupt these silences to make announcements to visitors. 　　The humans are gone but diverse life forms fill the architectural spaces they left behind. It’s as if amongst this absence the architecture and infrastructure of tourism whispers its own story. The pipes that once supplied aquariums and waterslides now breath notes. The curtains of a once luxurious hotel dance in the ocean rhythm. 　　These spectres of tourism are searched within the process of film production. The filmmakers make audible their casual conversations in which they search for meaning and imagine different lifeforms of the future. It might be relevant that a pandemic was sweeping through our world throughout the film’s production. Perhaps the film is a post-apocalyptic projection of their own remembered economic disasters. As a generation that experienced the false promises of progress and freedom, they also look into their own connections with the island of Capaluco: The collapse of the neo-liberal economy in Argentina and failed American dream to a Filipino immigrant.

The film navigates this aftermath observing the signs of an evacuated civilisation. Marine life is represented in murals and as forms of architectural ornamentation. A dolphin remains still, joyfully stuck in mid air, turned to stone. In contrast to constant life and movement underwater, the other side remains still, quiet, and solid in a concrete-made world. Occasionally, the voices projected from the speakers interrupt these silences to make announcements to visitors. 　　The humans are gone but diverse life forms fill the architectural spaces they left behind. It’s as if amongst this absence the architecture and infrastructure of tourism whispers its own story. The pipes that once supplied aquariums and waterslides now breath notes. The curtains of a once luxurious hotel dance in the ocean rhythm. 　　These spectres of tourism are searched within the process of film production. The filmmakers make audible their casual conversations in which they search for meaning and imagine different lifeforms of the future. It might be relevant that a pandemic was sweeping through our world throughout the film’s production. Perhaps the film is a post-apocalyptic projection of their own remembered economic disasters. As a generation that experienced the false promises of progress and freedom, they also look into their own connections with the island of Capaluco: The collapse of the neo-liberal economy in Argentina and failed American dream to a Filipino immigrant.

When one of his patients is found murdered, psychiatrist Dr. Sam Rice is visited by the investigating officer but refuses to give up any information. He's then visited by the patient's mistress, Brooke Reynolds, whom he quickly falls for despite her being a likely murder suspect. As the police pressure on him intensifies, Rice decides to attempt solving the case on his own and soon discovers that someone is trying to kill him as well.

In a remote cabin, Penny lives under Claire’s strict rules. Told it’s for her safety, Penny begins to question everything as dark secrets emerge, unraveling the truth her mother tried to hide.

Twelve actors spend six months on a cramped bus, lose their lead actor, play 71 roles, and learn to work in spaces that wont hold their set, all while reconnecting with their passion for performing, receiving a great review in the New York Times, and bringing classical theater to America in The Acting Company's 37th Season.

The song is a glitchy, dance-inspired number, and both of those elements are reflected in the video, which sees Twigs in a boring, very grey office, alternately working in a suit and dancing in her underwear as the video glitches out in sync with the song.

Tom gets into a feud with a teenage gang after a seemingly harmless encounter with a neighborhood kid. As his personal life also starts to unravel, the feud escalates to a shattering climax.

A miraculous discovery in the woods fulfills a despondent woman's deepest desire, but triggers a nightmarish new reality.

《静止》（Still）是一部以美国和印度为背景，围绕全球灾难展开的太空科幻惊悚剧。故事里，美国一觉醒来陷入黑暗，而印度和中国却不见夜幕降临。与此同时，时钟停止了转动，时间仿佛凝固了。