After graduating from college, Chen Keyi has always dreamed of making it in the big city. She has already made plans with boyfriend Yang Dahe but family issues cause the two to breakup. Left to fend for herself alone in Beijing, Chen Keyi feels the vulnerability of having no one to depend on. She decides to change her name to Chen Ke in hopes that it'll help her become stronger. One step at a time, Chen Ke evolves and matures through her multiple career changes in her journey through life.

In the heart of New York City, aspiring lawyer Xu Tian and ambitious fashion designer Sheng Xia are chasing their dreams. Xu Tian is sharp and driven, while Sheng Xia runs a small boutique, hoping to one day launch her own brand. When a fashion show accident unexpectedly brings them together, their lives and dreams begin to intertwine.

A private detective is hired to catch a serial killer who makes immigrant garment workers his victims.

From the silent era until today, the nightmares that have haunted our screen have been sculpted and embodied by women, but many of those artists have gone unrecognised – a historical oversight this documentary duly takes a chainsaw to. 　　Is horror a man’s world? You might assume so – but you won’t be thinking that way for long once you investigate the vast contribution women have made to horror movies for well over a century. In 2020, award-winning Australian critic Alexandra Heller-Nicholas released the definitive book on the subject: 1000 Women in Horror, 1895–2018, an encyclopaedic work celebrating the many women – filmmakers, actors, producers and technicians – who have shaped the genre since the moment cinema’s light first flickered. 　　In her complementary documentary, US director Donna Davies interviews a stack of powerhouse women in the horror scene, and assembles a bevy of clips from classic and little-known films that women have left their mark on. From filmmaker and programmer Kier-la Janisse (Woodlands Dark and Days Bewitched: A History of Folk Horror, MIFF 2021) and veteran performer Lin Shaye (A Nightmare on Elm Street; the Insidious franchise) to legendary Melbourne film scholars Cerise Howard and Heller-Nicholas herself, interviewees share their personal relationship with horror, addressing each theme the documentary explores sequentially: pregnancy, dolls, ageing, final girls and menstruation, to name just a few. Offering insights into the gender politics often explored through the genre, it’s a discussion that will continue even after you leave the cinema – while the smorgasbord of films referenced will have you scrambling for a pen and paper to take notes. 　　”Sit down, little boys; the grown-ups are talking.” – Alexandra Heller-Nicholas

影片简介： 千禧年的秋天，一批志同道合的朋友和地下乐队展开了非一般的音乐之旅。他们自费从家乡马来西亚远赴北京，期待第一次海外演出，期待第一次出国交流的机会。他们到了北京近郊，住在俗称摇滚村的农村里，一个地下乐队的基地，开始了他们长达一个月的生活。 《乐会北京》是他们在北京摇滚村生活一个月的实录。 　　导演介绍： 林俐，女，1975年生，马来西亚华裔。念大学时，和大马（马来西亚的简称）中文地下摇滚圈结缘，参于了音乐独立品牌“黄火”的推广和记录工作。虽然毕业于电视制作系，开拍乐会北京之前，除了学生作品外，没有组织制作拍摄的经验。因为资源有限， 2000年的音乐之旅素材搁置一旁，直到2004年末才进行后期制作。之后，也没有其他作品。 林俐正职为新闻记者，曾在大马的一家英文报社里拼了六年。 2005年辞职去周游欧亚各国，长达两年多的背包旅程在抵达北京后暂时告一段落。 　　作为一名新闻记者，林俐以她独特和敏锐的视角，随一群志同道合的朋友和地下乐队展开了非一般的音乐之旅，他们自费从马来西亚远赴北京，背着沉重的行囊，在北京近郊的摇滚村里开始了他们长达一个多月的生活，他们希望他们可以和其他的乐队一样，在这里用音乐表达自我，用音乐去交流，甚至用音乐去完成他们的生命，他们的理想是坚定的，但同时也是脆弱的，在遇到种种挫折之后，有的人的理想破灭了，曾经坚持的东西如今却被严酷的现实打败，他们沿着他们曾经来的路返回，回到了各自最初的生活。“影想·放映”活动中，不乏这样的影片，很多年轻人在用影像表达着自我，表达着他们对生活对生命的看法。从周遭的人到整个社会，我们在这里看到了与主流电影不一样的视角。《乐会北京》作为一部纪录片，以真实的镜头纪录着信仰从坚持到破灭的过程，虽然结果是让人惋惜的，但是它却给观众留下思考。放映完毕，很多观众除了对影片中乐队的主要成员现在的生活关注有加外，也对影片中张婉婷和崔健的意外出镜很感兴趣，导演说这部作品是对张婉婷导演的《北京乐于路》给予了某种程度的否定，而崔健对于当时地下摇滚青年的那种状态也是加以批判的，而更多的观众则是对影片中关于信仰的问题展开了讨论，我们的信仰在当今严酷的社会现实下是否依旧坚持下去？

The dorkiest thing in the world, according to feminist poet Sigrid, is the movie cliche of the young woman who in the morning dons her male lover's shirt, looking adorably "indie cute". But when she begins a relationship with Kåre Tryvle, she has difficulties living up to her ideals. Meanwhile, pregnant performance artist Trine is planning to give birth in a cage, dressed up as Marie Antoinette, on camera, and factory worker Astrid is looking for the son she had adopted away.

The dorkiest thing in the world, according to feminist poet Sigrid, is the movie cliche of the young woman who in the morning dons her male lover's shirt, looking adorably "indie cute". But when she begins a relationship with Kåre Tryvle, she has difficulties living up to her ideals. Meanwhile, pregnant performance artist Trine is planning to give birth in a cage, dressed up as Marie Antoinette, on camera, and factory worker Astrid is looking for the son she had adopted away.

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“笼中女系列三部曲”之一，卡罗尔·杰弗里斯（被称为“杰夫”）是一个天真的美国女人，住在菲律宾。她的毒品交易商的男朋友被抓后，她也被判了十年有期徒刑。她无法忍受恶劣的环境条件和监狱里残暴的护士长，于是她说服她的队友们设法逃脱·.....

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