Dana是个失败的生物学家，她与几个同学一起穿越Dismal沼泽。这是一个充满生命的偏远地区，这里也充满了死亡，尽管他们遭遇了饿熊、毒蛇及致命的短吻鳄，但他们还未意识到真正的危险。在他们营地不远处，潜伏着一个……吃？或被吃？

金棕榈名导阿彼察邦为3e Scène拍的一支项目短片，历时12个夜晚拍摄。森林中心，一个女人彻夜无眠，在她不远处，一组剧院的布幔缓缓升降，交替变幻着不同的景观。火焰，曝光在女人的蓝色被褥上。现实与虚幻交织在一起，像是一个燃烧着的梦境。

金棕榈名导阿彼察邦为3e Scène拍的一支项目短片，历时12个夜晚拍摄。森林中心，一个女人彻夜无眠，在她不远处，一组剧院的布幔缓缓升降，交替变幻着不同的景观。火焰，曝光在女人的蓝色被褥上。现实与虚幻交织在一起，像是一个燃烧着的梦境。

这个奇异的故事发生在一个平凡的男人身上。他性格有些孤僻，与朋友鲜少交流。某天，他的鼻子突然学会说广东话，男人为之起名阿鼻。自从阿鼻会说话后，男人再也没跟朋友联系过。阿鼻就像一个贴心的好朋友，“两人”亲密无间，无话不说。某天，男人发现阿鼻离面部远了一点儿，询问后才得知，一旦阿鼻接收到负能量，它就开始变长。男人埋怨阿鼻不事先告知，可又无能为力。他们的相处依然和谐，只不过“两人”的话越来越少了，彼此贴近，但心与心的距离越来越远。 　　直到某天，阿鼻终于决定离开，去未知的地方远行……

奈德（尼古拉斯·凯奇 Nicolas Cage 饰）是一名体格非常壮硕的船工，在一次双桨划船比赛中，他轻松夺得头筹，奈德优秀的表现被一位名叫比利（大卫·诺顿 David Naughton 饰）的男子尽收眼底，他在奈德的身上看到了无量的前途，想要成为他的经纪人，带着他到更大的城市去参加更高级的比赛。可是，奈德拒绝了比利。 　　某日，奈德因为偷运私酒而遭到了警方的埋伏，在关键时刻，比利出现救下了奈德，就此获得了后者的信任。就这样，奈德成为了比利的“棋子”。此时奈德并不知道的是，当时出现的警察，正是比利安排在那里的，一切都只是比利为了得到奈德而设下的“陷阱”而已。

在片场感到挫败和焦虑的理查暂时放下手边的工作，独自漫步在巴黎街头摸索方向。理查碰见形形色色的陌生人，有人提供慰藉，也有人迫使他不安。所有的不期而遇，或许早已命中注定……

Living in the rural Texas panhandle is a dysfunctional family: an abusive dad, a Vietnam vet with a war wound that's left him impotent; a compliant wife and a son of about 20, who have an incestuous relationship at the insistence of the dad; and, two small sons who look a lot like their brother. The dad harbors a secret, and he goes to murderous lengths to keep it hidden. The young man, Jimmy, who sleeps out in the shed, has suspicions, but little comes out until a Yankee woman of middle age comes to town looking for a dead private eye. And why does dad keep calling Jimmy, "little boy blue"?

A filmmaker conquered by an anxiety attack, lets go of his shoot and wanders through nocturnal Paris, in search of solace. During this night, Richard will face his fears and question his desires.

一个女同性恋者和一个异性恋女人共度一夜。第二天早上，她面对着未实现的期望。她的思想无情地围绕着她的欲望和满足它们的冷漠。在一个几乎无法取之不尽的意识流中，它同时是执着和温柔的，她重温了前一天的夜晚，这一夜已无处可去，就像旧金山的街道和小屋似乎在一个故意的简洁的蒙太奇中反映了自己的心情。电影史学家詹妮·奥尔森（JenniOlson）也参与了《老友记》的修复工作，他发现了文字和图像之间的关系的一种形式，这种关系在其简单性中非常感人。 　　A lesbian spends a night with a straight woman. The next morning, she faces her unfulfilled expectations. Her thoughts relentlessly circle her desires and the indifference with which they are met. In an almost inexhaustible stream of consciousness that is simultaneously obsessive and tender, she relives the previous night which has gone nowhere; just like the streets and cul-de-sacs of San Francisco that seem to reflect her own mood in a deliberately laconic montage. Here, film historian Jenni Olson, who was also involved in the restoration of Buddies, finds a form for the relationship between words and images that is deeply touching in its simplicity.

Living in the rural Texas panhandle is a dysfunctional family: an abusive dad, a Vietnam vet with a war wound that's left him impotent; a compliant wife and a son of about 20, who have an incestuous relationship at the insistence of the dad; and, two small sons who look a lot like their brother. The dad harbors a secret, and he goes to murderous lengths to keep it hidden. The young man, Jimmy, who sleeps out in the shed, has suspicions, but little comes out until a Yankee woman of middle age comes to town looking for a dead private eye. And why does dad keep calling Jimmy, "little boy blue"?