After the end of civilization, an aged man undergoes a mysterious journey through space and time that takes him through memories, visions, and historical events, ultimately transcending the limitations of the senses and into a new cosmic rebirth.

May, the daughter of a wealthy Vietnamese businessman, wants to celebrate her 18th birthday in Bangkok and is willing to spend a lot of money to have dinner with her favorite Thai actor, Mr. Park (Puttichai Kasetsin). However, she starts to question whether money can bring true happiness and decides to meet Mr. Park as a regular person instead of a wealthy heiress. Her parents send a housekeeper and four bodyguards to watch over her, making it difficult for May to meet Mr. Park privately. She teams up with a friend, Dua Hau, to sneak out and meets a motorcycle biker named Boy (Vachiravit Paisarnkulwong), who helps her evade her bodyguards and get closer to Mr. Park. As May spends more time with Boy, she begins to question her feelings for Mr. Park and must decide who she wants to spend her special day with.

一对夫妇讲述他们分开时的一些“放荡”经历。

高艺术，高级时装的明星众多的展示人物和生动地提醒我们的艺术，而不是我们的障碍，最终定义我们。免费，突出重点，又他妈的狗屎，它显示了弗格森，超级巨星，视觉艺术家，创意总监，标签头，时尚偶像，妻子的每一个侧面，而且，她会告诉你最重要的是，“米

The golds of Saddam, the last booties of the Iraqi war, are smuggled into Turkey by hidden in the cotton. Blind workers are used to pick the gold from the cotton but the smugglers try to prevent any possible thefts by telling the workers that it is rock they are picking from the cotton. They don't know that there's a seeing eye among the blind workers.

Photographed through the windshield of a Vancouver city bus and edited according to the rhythms of the bus’ windshield wiper, the film transforms the linear narrative of the bus ride into a temporal construction that can be described as cubist. The effect of the cutting strategy on the actual temporal organization of the film is as remarkable as its effect on our sense of time.

Photographed through the windshield of a Vancouver city bus and edited according to the rhythms of the bus’ windshield wiper, the film transforms the linear narrative of the bus ride into a temporal construction that can be described as cubist. The effect of the cutting strategy on the actual temporal organization of the film is as remarkable as its effect on our sense of time.

作家のナオは、とある離島のモーテルを訪れ、役作りのために滞在している舞台俳優の銀次とモーテルの経営者であるマスターと出会う。ナオに続いて、隣島の刑務所から脱獄してきた成瀬と嶋村、突発的な嵐で行き場を失った千夏と涼香などが現れる。