Agra-based collegian Samar Thakur, lives in a joint family consisting of his dad, mom; brother Amar and his wife; as well as a married sister, Munni, who has been estranged from her husband. His parents force him to marry Prabha, who is a matriculate, much to his chagrin as this interferes with his future plans. The marriage does take place, and he soon finds that she is not only incompatible with him, but also not well versed in household chores - leading to arguments, abuse and neglect - that may result in the end of this marriage.

Agra-based collegian Samar Thakur, lives in a joint family consisting of his dad, mom; brother Amar and his wife; as well as a married sister, Munni, who has been estranged from her husband. His parents force him to marry Prabha, who is a matriculate, much to his chagrin as this interferes with his future plans. The marriage does take place, and he soon finds that she is not only incompatible with him, but also not well versed in household chores - leading to arguments, abuse and neglect - that may result in the end of this marriage.

Sandy Bay, Tasmania. Imogen and Audrey navigate their lives in isolation. On Plains of Larger River & Woodlands explores the natural and arcade landscape they occupy as foreboding clouds roll in on a brink of a post-apocalyptic existence. 　　Miguel de Jesus decided to move to the island of Tasmania (Tassie for the locals). He lives and works on the other side of the world (literally) and, with his latest films, has sought to reflect on the position of the foreigner and the displaced – himself, but not only. The first of his films to tackle the issue of distance (both geographical and emotional) was Ultimate Bliss (2002). Now, with On Plains Of Larger River & Woodlands, the director throws himself into the strangeness of a world that dazzles and bores. Through the testimony of two young women, we hear stories of violence (sexual, psychological, physical) accompanied by images of a certain exotic bucolicism. It is precisely there – in the tension between what is heard and what is shown – that the spark of disturbance is ignited. As one of the girls says at one point, “If I had to describe Tassie in one word, I’d use ‘mundane’. But that’s probably not true.” Between the certainty of experiences (sex, drugs, the prevalence of weapons) and the power of the imaginary ( fixated by mythological representations of the olympus), a portrait emerges of a generation tormented by the detachment of annoyance. – Ricardo Vieira Lisboa

Sandy Bay, Tasmania. Imogen and Audrey navigate their lives in isolation. On Plains of Larger River & Woodlands explores the natural and arcade landscape they occupy as foreboding clouds roll in on a brink of a post-apocalyptic existence. 　　Miguel de Jesus decided to move to the island of Tasmania (Tassie for the locals). He lives and works on the other side of the world (literally) and, with his latest films, has sought to reflect on the position of the foreigner and the displaced – himself, but not only. The first of his films to tackle the issue of distance (both geographical and emotional) was Ultimate Bliss (2002). Now, with On Plains Of Larger River & Woodlands, the director throws himself into the strangeness of a world that dazzles and bores. Through the testimony of two young women, we hear stories of violence (sexual, psychological, physical) accompanied by images of a certain exotic bucolicism. It is precisely there – in the tension between what is heard and what is shown – that the spark of disturbance is ignited. As one of the girls says at one point, “If I had to describe Tassie in one word, I’d use ‘mundane’. But that’s probably not true.” Between the certainty of experiences (sex, drugs, the prevalence of weapons) and the power of the imaginary ( fixated by mythological representations of the olympus), a portrait emerges of a generation tormented by the detachment of annoyance. – Ricardo Vieira Lisboa

讲述了藏族青年闹日昂杰毕业之后的两年时间都过着没有工作闲赋在家的生活。家人希望他考个稳定的工作，但生在草原的闹日不喜放牧，热爱自由更爱骑行。为了参加甘南藏地传奇国际自行车大赛，他背着家人刻苦训练，还遇到了他喜欢的姑娘——嘉嘉。在嘉嘉以及她哥哥大伟的帮助下，以及闹日昂杰的顽强的意志，最终在自行车大赛中获得了冠军。

讲述大康在女友逼婚买房之下走上销售假冒伪劣保健品之路、害了包括母亲在内的老人们、最终经营养老院赎罪的故事。揭露当下保健品销售中的种种乱象，有助于消费者识别不法分子的销售骗局，也对当今恋爱男女重新深思爱情婚姻的本质有启示作用。

讲述大康在女友逼婚买房之下走上销售假冒伪劣保健品之路、害了包括母亲在内的老人们、最终经营养老院赎罪的故事。揭露当下保健品销售中的种种乱象，有助于消费者识别不法分子的销售骗局，也对当今恋爱男女重新深思爱情婚姻的本质有启示作用。

讲述了藏族青年闹日昂杰毕业之后的两年时间都过着没有工作闲赋在家的生活。家人希望他考个稳定的工作，但生在草原的闹日不喜放牧，热爱自由更爱骑行。为了参加甘南藏地传奇国际自行车大赛，他背着家人刻苦训练，还遇到了他喜欢的姑娘——嘉嘉。在嘉嘉以及她哥哥大伟的帮助下，以及闹日昂杰的顽强的意志，最终在自行车大赛中获得了冠军。

哆基朴是一团小花狗的便便，它孤零零地诞生在乡村的黄泥地里，身体是圆圆的一团，有两颗黑眼睛，对这个世界充满了好奇，但是却无法走动，还被经过身边的小鸟、公鸡嫌弃，令它备受伤害，对自己的存在意义也产生了怀疑。风吹雨打，秋去冬来，远方飘来的落叶和马车上落下的泥土和哆基朴的短暂交流令它更深刻地认识生命，也让它向往能像天上星星一样闪亮。冬天终于过去，冰雪融化，哆基朴赫然发现身边长出一颗蒲公英幼苗，它终于不再孤单，也终于找到自己一生的价值…… 　　《哆基朴的天空》改编自韩国儿童文学家权正生的励志童话，也是一部质朴的粘土动画。

哆基朴是一团小花狗的便便，它孤零零地诞生在乡村的黄泥地里，身体是圆圆的一团，有两颗黑眼睛，对这个世界充满了好奇，但是却无法走动，还被经过身边的小鸟、公鸡嫌弃，令它备受伤害，对自己的存在意义也产生了怀疑。风吹雨打，秋去冬来，远方飘来的落叶和马车上落下的泥土和哆基朴的短暂交流令它更深刻地认识生命，也让它向往能像天上星星一样闪亮。冬天终于过去，冰雪融化，哆基朴赫然发现身边长出一颗蒲公英幼苗，它终于不再孤单，也终于找到自己一生的价值…… 　　《哆基朴的天空》改编自韩国儿童文学家权正生的励志童话，也是一部质朴的粘土动画。