在中国边陲名城塔尔巴哈台城，在美丽的吐尔加辽草原。巴旦花岁岁年年地开放着。哈萨克族小姑娘玛依拉就生活在这里。她随着家人放牧、换牧场、进城、作客……她见到了各个民族的朋友，也感受到了各族朋友的友爱。巴旦花岁岁年年地开放，玛依拉也渐渐长大了。

一个执着的相信童话会变成现实的少女的故事，和妈妈（裴宗玉 饰）一起生活的车尚银（姜惠贞 饰）二十岁，漂亮而且善良，折纸的手艺很有天赋，更难得的是她还有一个温暖的家爱她的朋友，可是在一切都似乎完美的表面下，她却有着一个不为人知的秘密……她的智商永远停在了七岁患有3等精神残疾。虽然外表看起来是20岁的少女但却只有7岁的孩子智商，可是她并不认为自己的生活有什么缺陷，因为她有一个极其爱护她的妈妈，就算是感到无聊的时候也可以想像着把童话里面的人叫出来自娱自乐，在妈妈一直鼓励下即使遇到失败也会重头再来，幸福的尚银尽情的享受着快乐，可是有一天一种奇怪的感觉开始在她的心里扎了根。尚银把个性张扬经常被人议论的中范（郑京浩 饰）当做书中的白马王子，两个人短暂的约会后中范得知尚银的病情离别也就随之而来了，尚银深受打击就连最信任的妈妈也不肯吐出真情。不知道如何是好的尚银无论怎么吃也抹不去初恋的感情……

2003年夏天，一群牧羊人赶着羊群，最后一次通过美国最西北方蒙大拿州的熊牙山山脉。这是一条将近300千米的路程，沿途是积雪覆盖岔道众多的绿色山谷，一路上他们需要穿越道路狭窄危机遍布的山脊。年老的牧羊人尽全力使数以百计的羊不至走失，免受丛林里饥饿的狼群与大灰熊的威胁。

《香草》并非香草，在它被一分为“香气”与“古怪”二义之时则非如此。 年轻小伙子Jeff是一所高中的摄影师，他在湖边发现了自杀而亡的“海湾市屠夫”的尸体。在警察和父亲的追问下，他仍痴迷于“海湾市屠夫”制造的一连串谋杀案中，其在与青年男子性接触时将人掐死，Jeff的好奇心和自我动机导致他在一次艺术活动中亲身体验谋杀的过程。是否会‘好奇害死猫’也正是这出短片戏剧性的结局所在。

柔弱善良的香草用她的肩膀扛起了家庭的重担

In late 1980s Mexico, eight-year-old Roberta watches her family of seven women fight to save their home from mounting debt, a struggle that reshapes how she sees herself and those around her.

上世纪50年代，女主角林波儿随养母到香港艰难营生。但她坚持传承南音，在闽南侨胞的帮助下一举成名，被东南亚影迷誉为“一代旦后”的传奇故事。

Saratan is a film made in 2005 by the Kyrgyz director Ernest Abdyjaparov, with financial assistance from Germany, and distributed in the West by a German company. The film was made more than ten years after the demise of the Soviet Union - when the various socialist republics suddenly found themselves with unexpected independence – which brought with it an economic malaise following the withdrawal of Moscow’s subsidies, and an ideological vacuum which together left Kyrgyzstan and its neighbouring Central Asian republics facing economic hardships and social upheavals. It centers on the lives of people in one small Kyrgyz village, a snapshot of life with happy and sad elements side by side. It can also be seen, however, as providing a comment on the country’s history, society and culture in the period following independence, “where the average citizen is struggling with a sheer insurmountable number of difficulties.” Fourteen years into independence, there are several things that just don’t seem to work in this small Kyrgyz village: the farms are not working; the people are poor without prospects for a better future although a few “rich” people have benefited – to the disadvantage of the average villager, employment is virtually non-existant and the little money that is earned is, all too often, spent on vodka. More than 40 characters populate the film and provide a kaleidoscope of personal stories and relationships. Amongst them are: drunkards, thieves, philanderers, hypocrites, adulterers, layabouts, a malicious jester, a shaman, a cheating wife, a mullah who oversleeps and has to rush to conduct morning prayers in which no-one seems to take an interest, a traffic policeman directing non-existent rush-hour traffic in the village square, the local mayor struggling to cope with an apathetic community in which seems to take him seriously, a Jehovah’s Witness missionary who finds an avid in the Communist die-hard as they share a prison cell, a cattle thief and his family who utter an Islamic prayer fused with nomadic gestures when slaughtering a stolen lamb The “heroes” of the film, however, are the “Kyrgyz people” – who, despite the trials and tribulations of everyday life in a depressed economy, nevertheless manage to overcome them and find ways to cope with the apparent hopelessness of their situation. Two phrases used by reviewers in describing it are: ”a happy-sad snapshot” and “tragicomic tales of politics, tradition, modernity, pride and honour”. The humour is underlined by a elements of satire, cynicism, self-mockery, a sense of absurdity and occasional moments of “slapstick”. It was made on a small budget – just USD120,000 – and has been shown in a number of film festivals in Berlin, California, Cardiff, London and Marakesh – where it was the “Golden Star” prize, and in Russia where it has also won prizes. Abdyjaparov says: “As far as context is concerned, this film is about difficulties of Kyrgyzstan for the last 10 years after it became independent from the Soviet Union. I showed it [the history of Kyrgyzstan] through a small Kyrgyz village, its history, people, social, economic and even philosophical issues and developments. I tried to show the whole country’s fate by showing one village,” .

Waël, un ancien enfant des rues, vit en banlieue parisienne de petites arnaques qu’il commet avec Monique, une femme à la retraite qui tient visiblement beaucoup à lui. Sa vie prend un tournant le jour où un ami de cette dernière, Victor, lui offre, sur insistance de Monique, un petit job bénévole dans son centre d’enfants exclus du système scolaire. Waël se retrouve peu à peu responsable d’un groupe de six adolescents expulsés pour absentéisme, insolence ou encore port d’arme. De cette rencontre explosive entre « mauvaises herbes » va naître un véritable miracle.

Yuki和Ai是一對交往已久卻仍在衣櫃裡的情侶，她們的相愛始於酒吧：Yuki安慰工作不如意的Ai ，以蛋糕的口味打開話題，發現兩人的口味截然不同。濃厚生澀的抹茶碰上香甜浪漫的香草，又會產生怎樣的火花？當Yuki被診斷出罹患癌症末期後，在日本民風保守的傳統社會中，兩人怎樣攜手對抗家庭、醫院和社會的壓力，長相廝守下去呢？ 導演Hamish Downie是在日本工作的澳洲籍編劇，其編劇和製作的短片 An American Piano (2014) 曾獲眾多獎項。是次更邀請舞台經驗豐富的久藤今日子參演，並找來獲獎製作團隊合作首部長片作品，希望藉此支持推動日本同性婚姻平權。