Jane and Will are familiar faces on the Los Angeles club scene. They meet officially at drug rehab after Jane OD'ed and Will crashed her motorcycle driving stoned. They hit it off immediately and escape the clinic to travel to Montana and find the bike from Easy Rider. Different from most road movies in that no'one gets murdered and no vengeance is reaped. On the contrary, the characters let their pasts and memories lead them down the road to emotional self-destruction. In other words there is no seductive emancipation here, just people with problems that won't go away with a rev of a motor.

Expectant parents become prime suspects in the disappearance of a pregnant woman who was last seen at their garage sale. Model citizen David Rose runs a garden center and is a devoted house-father. Like his wife Ivy, who suffered two stillbirths, their new neighbor Melinda is near to giving birth. Just after David showed her around in the Rose home, Melinda goes missing. Although no corpse is found, just circumstantial evidence more likely to be planted then stupidly left behind, police detective Blanchard treats David as his sole suspect, soon arrested, even after nosy neighbor Bindel is knocked down while David is in jail. School buddy Theo does his best to counsel the couple, yet Ivy doubts her husband's innocence just because of indications he may have had an affair with Melinda since high-school, and starts snooping with her best friend Jody. The worst crime is still being hatched.

Egon Brümmer and his half-strong "boys" are an integral part of the Borkenheide Musical Club. When the manager of the clubhouse forbids them to rehearse in his rooms, Egon and his friend Paul react by hitting on the visitors to a nearby Christmas party. Both are sentenced to six months in prison without parole for assault. When Egon gets out of prison, he wants to leave his old life behind him. He tries to avoid the boys, but they don't understand his change of heart. He starts working as an unskilled laborer on a building site, just as he did before he went to prison. At a graduation ball, Egon meets Christine Lange, who wants to study medicine. Her friends call her the "eighth wonder of the world" because it would be a miracle if she were to fall in love. Egon pretends to be a construction specialist and the two dance together.

Emily Parker is haunted by visions of a woman from the past soon after receiving an antique engagement ring from her fiancé.

这是一个男人和一个拿着魔法伞的女人之间的爱情故事。

Middle-schooler Will Jin is visited by a time-traveling, rebel warrior named Athena. Athena shocks Will when she tells him that he grows up to destroy the world. With the help of his best friend, the less than reliable Hailey, Will must take control of his future in order to save the world.

A film about the state in which the aspiring artist finds herself. In a creative world, the artist's desperate pursuit is transformed into her own purgatory by bitter competition and constant need for confirmation.

本作记录了在没有电和水的山中过着狩猎生活的东出昌大长达一年的时间。在片中，他展示了自己捕获的鹿和野猪作为食物，同时与当地居民互动，但影片也揭示了他内心的混乱情绪和挣扎。

Former college basketball star Will (Obaka Adedunyo) is struggling to kick his heroin addiction and find a stable job, while Jean (Loretta Devine, Waiting to Exhale), his tough but supportive wife, works hard to keep their household afloat. A renewed sense of purpose arrives in the form of a drug-using, destitute 12-year-old, whom Will takes in and affectionately nicknames Little Brother. Will adopts a mentor role towards the boy in order to incentivise himself to do better, but returning to the straight and narrow path proves fraught with temptation. 　　Unapologetically frank and deeply emotional, Will features fierce performances from Adedunyo and prolific actor Devine in her first film role. Trailblazing director Jessie Maple made the film on a shoestring budget of $12,000, shooting on 16mm alongside her husband, cinematographer LeRoy Patton. Maple’s determined DIY ethos even extended to exhibition: for the film’s premiere, she and Patton converted the basement of their Harlem brownstone into a cinema dubbed 20 West, which became a long-running venue used to elevate other Black filmmakers. Recently restored from near obscurity and championed by directors such as Julie Dash, this pioneering film can at last be granted its due. 　　“Will’s crisis has a spiritual dimension, and Maple evokes it, dramatically and symbolically … a blunt cinematic instrument of immense power.” – The New Yorker