A tale of an obsession with junk food that may prove hard to swallow.

A tale of an obsession with junk food that may prove hard to swallow.

早餐：简陋肮脏的斗室中，坐着一个静默不动、胸口上挂着说明书的眼镜男人。这时从门外进来一个秃顶男人，他环视房间，笨拙地按照说明书将硬币塞进眼镜的嘴里。简单操作之后，热狗和牛奶从眼镜胸口中送出，秃顶大快朵颐，继而僵直不动。眼镜摘下说明书，留下秃顶等待另一位顾客…… 　　中餐：两个陌生人坐在一张桌子前，繁忙的侍者永远不来招呼他们。饥肠辘辘的两个人只得开始吃眼前的东西…… 　　晚餐：每个人的盘子里都放着自己身体的一部分……

早餐：简陋肮脏的斗室中，坐着一个静默不动、胸口上挂着说明书的眼镜男人。这时从门外进来一个秃顶男人，他环视房间，笨拙地按照说明书将硬币塞进眼镜的嘴里。简单操作之后，热狗和牛奶从眼镜胸口中送出，秃顶大快朵颐，继而僵直不动。眼镜摘下说明书，留下秃顶等待另一位顾客…… 　　中餐：两个陌生人坐在一张桌子前，繁忙的侍者永远不来招呼他们。饥肠辘辘的两个人只得开始吃眼前的东西…… 　　晚餐：每个人的盘子里都放着自己身体的一部分……

FOOD is a short film directed by aritst/photographer Robert Frank about Gordon Matta-Clark and Carol Goodden's conceptual restaurant.

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。

腕っ節が強く地元では向かうところ敵なしの青年・本堂ケント（ELLY）は勢いで上京するも何もかもが順調に進まず、さらにもめ事を起こしたことで仕事先からも追われてしまう。地元に戻った彼は、高校時代に付き合っていた女性が、夫の借金によってトラブルに巻き込まれていることを知る。夫の行方を捜しに東京に戻ったケントは闇金に殴り込みをかけるが、そこは元暴走族が仕切る地下組織に関わる店だった。