阿傑從事特殊的遺物清掃工作，每天與身分不詳的死亡現場為伍的他，生活也與活死人沒什麼兩樣。 　　但在某次清掃任務中，一個熟悉的聲音響起...... 　　阿傑為何選擇離開家庭？ 被生活困住的他，最後能否與自身和解？ 　　A-Jay has a special job, trauma cleaner, he has to associate with the unidentified death people every single day. His life is nothing different to being dead. 　　Until the day while he was working, a familiar sound started ringing… 　　Why did A-Jay decide to leave his family? A-Jay who stuck with his life, can he release himself from the past?

阿傑從事特殊的遺物清掃工作，每天與身分不詳的死亡現場為伍的他，生活也與活死人沒什麼兩樣。 　　但在某次清掃任務中，一個熟悉的聲音響起...... 　　阿傑為何選擇離開家庭？ 被生活困住的他，最後能否與自身和解？ 　　A-Jay has a special job, trauma cleaner, he has to associate with the unidentified death people every single day. His life is nothing different to being dead. 　　Until the day while he was working, a familiar sound started ringing… 　　Why did A-Jay decide to leave his family? A-Jay who stuck with his life, can he release himself from the past?

ある夜、花巻奈々子（さとう珠緒）は怪しい男に襲われた。その時、颯爽と現れ奈々子を救ったのは熊谷コンツェルンの警備保障会社に勤める綿貫治夫（出川哲朗）だった。綿貫は奈々子に一目ぼれ。 熊谷紫（中村玉緒）はこれが縁で二人にロマンスが芽生えるかと期待したが、奈々子は綿貫が自分の好みではないと不満そう。 　　高望みする奈々子に、紫は合コンに参加して出会いを探すようアドバイス。早速出かけた飲み会で奈々子は前後不覚になるほど酔ってしまい、参加していた医師の藤倉真二郎（桐島優介）にタクシーで送ってもらい自分のマンションに帰った。 　　翌朝、二日酔いで目を覚ました奈々子は、バスタブで真二郎が刺し殺されているのを発見する！凶器の包丁には奈々子の指紋が…奈々子は殺人容疑で逮捕される。 　　その知らせに驚く紫。奈々子がそんなことをするがはずが無い。紫は相棒を救うため、真二郎が勤めていた藤倉病院に清掃人として潜入し、独自の調査を始める。

熊谷コンツェルンの会長・熊谷紫（中村玉緒）と部下のＯＬ・花巻奈々子（さとう珠緒）は、知り合いの不動産屋に頼まれ、ある家をクリーニングすることになる。ところがその家は、２か月前に起きた主婦殺しの現場だった。殺された主婦・甲斐君恵（星遥子）には多額の保険金がかけられていた。受取人は夫の真彦（宮下直紀）。夫婦の間でトラブルが絶えなかったとの証言もあり、警察は真彦を容疑者とみて取り調べていた。事件の跡が生々しい部屋を掃除し始めた紫は、そこにある家族写真の顔を見て驚く。真彦は学生時代に紫の家に書生として住み込んでいたことがあったのだ。びくびくしながら掃除を続ける紫と奈々子は、誰もいないはずの部屋で弁護士の鈴木省吾（伊藤正之）と鉢合わせしてビックリ。これは冤罪事件で真彦は犯人ではない、その証拠をつかんだと鈴木は言う。直後、鈴木は家の裏庭で刺殺されてしまう。

根据Paul Cleave的小说《清掃魔》（The Cleaner）改编。

改编自Paul Cleave的小说《清掃魔》（The Cleaner）。

A young, seemingly mute woman has been fixed to the wall of an apartment with a long metal chain. She is being kept as a slave in the home of taxi driver Phanishwar, where she sleeps on a table and cooks for him. Phanishwar is a fervent supporter of the right-wing extremist guru ‘Baba’ and spreads his hatred in the commentary sections of social networks. One day he meets a young woman, Rami, who has had to go underground in Goa after a secretly filmed sex video in which she appeared went viral on the internet. He becomes her driver, whilst secretly stalking her online. Indian director Q does not shy away from controversy, having already succeeded in inflaming passions with the dark tales in his feature film debut, Gandu. His stylishly shot revenge story Garbage revolves around two women who are exposed to different forms of oppression. Q initially takes time to develop the events, making some (queer) detours until eventually, things radically change. And when female martyrdom turns into retaliation, the director finds drastic images for the filmic deconstruction of (Indian) masculinity.

A young, seemingly mute woman has been fixed to the wall of an apartment with a long metal chain. She is being kept as a slave in the home of taxi driver Phanishwar, where she sleeps on a table and cooks for him. Phanishwar is a fervent supporter of the right-wing extremist guru ‘Baba’ and spreads his hatred in the commentary sections of social networks. One day he meets a young woman, Rami, who has had to go underground in Goa after a secretly filmed sex video in which she appeared went viral on the internet. He becomes her driver, whilst secretly stalking her online. Indian director Q does not shy away from controversy, having already succeeded in inflaming passions with the dark tales in his feature film debut, Gandu. His stylishly shot revenge story Garbage revolves around two women who are exposed to different forms of oppression. Q initially takes time to develop the events, making some (queer) detours until eventually, things radically change. And when female martyrdom turns into retaliation, the director finds drastic images for the filmic deconstruction of (Indian) masculinity.

【垃圾】是一齣發生在一個香港老社區的迷你「公路電影」。 　　「社區 」(Community) 是一個奇怪的詞，它不像「家庭」般溫暖，但對一些人來說，像故事中的角色，他們並沒有一個模範的家，然而在這個晚上，他們「有著」彼此。 　　七十多歲的笑姨，在家中再次受到兒子無情無理的恐嚇虐待。忍養一生，她決定把一早就應拎掉的梳化推出家外，獨自步行到垃圾站。在夜半的街角，笑姨碰上認識了卅多年的老街坊堂哥。 　　這一個夜，二人行行停停，推著破舊沉重的梳化，走過夜靜的老街、便利店、公園、天橋底、垃圾站......；路上遇見不同的人、物、以及孤獨的風景......。這段路，看出二人與家人的問題，也看到了那血濃於水的羈絆；老朋友的相助，給悲傷的笑姨帶來了點點溫暖和生氣；可是，殘忍的現實卻仍舊荒涼重復。 　　隨着燈光、場景、聲音、剪接，觀眾彷如置身其中，和兩個主角一起在炎熱的夜空中，在香港的老社區遊走。透過溫婉溫和的視角，感受他們的疲憊、失望、關注、擔憂、無奈與及「放下」......。 　　老和死之間，還隔著一段人生。

16mm胶片拍摄。姐姐前来告知自己多年未见的弟弟关于母亲的丧事，家庭中积压多年的情绪在暗中发泄出来。