一個男人細細咀嚼著他在保加利亞度過的青春時光，大家得以跟著一窺他的人生際遇，是如何來到加拿大，並一步步成為一個憂鬱、失根的大人。

Dhananjay and Aaftab are half brothers who have never met. When they first do they instantly loathe each other, having nothing in common. One night, Aaftab blows up a loaded truck while trying to steal from it and attracts a mass of unwanted enforcers. Soon, Aaftab is forced to send Dhananjay into a trap but ends up with them both being handcuffed and escaping from the Border Security Force, the Central Bureau of Investigation, and the border mafia who are attempting to incriminate the brothers for anti-national activities and murder. Fate has it such that they are forced to escape on foot, on motorbikes, cars, stolen trucks, and even handcuffed to each other on a moving goods train.

萨姆失去了最亲爱的爱人，生活变得混沌不清。母亲建议他到一处林中小屋放松一下。但在那片森林里，似乎有某种邪灵，它以悲伤为食，将脆弱的心灵扭曲成迷幻的地狱景象，饥肠辘辘地等待着萨姆。。。

前往东京追梦的纳野和得知父亲住院的消息后，毅然决定回老家继承家里名为绿松的日式点心铺。 但此时他的家里已经有了一位继承人候补。这位名叫雪平一果的少女在纳野家寄住并在店里帮忙，如今已成为店里的活招牌。 阿和被托付当一果的父亲，但一果却因为他曾经拒绝继承家业的理由而对他十分冷漠。然而在两人工作的过程中，阿和知道了一果的另一面… 以京都为舞台，日式点心维系着人与人之间的温情，书写出一篇动人的温馨故事

讲述一个英国军医从战场回来，总看到一些可怕的“幻象”：血腥、怪人、怪物……以为是重度PTSD，随后，她发现陷入的是更为恐怖的境地，自己的生活也变得陌生。

Two high profile couples are forced to examine the cost of success when they're invited to an exclusive self-help retreat where their ancestors sold their souls generations prior.

When a young man sees his fiancée struck and killed by a hit-and-run driver, he is inconsolable. When questioned by the police, he is unable to remember anything that he saw, even though he wants very much to have the driver caught. A week later, he is visited by a stranger who claims he can help. The visitor tells him that his own son died in the same way, and he offers to help the young man to remember the license plate number that he saw, by using special memory recall methods. It's not clear, though, what the visitor's motive for helping might be.

在寻找心灵寄托的过程中，莱奥试图与他在约会网站上认识的一位女性见面，却落入卡尔设下的严重敲诈陷阱，而卡尔有着犯罪前科。

《Last Thing》從岩石和礦物的角度探討演化與滅絕；這些物質存在於人類之前，並將超越人類、持續存在。在科學家與思想家如林恩・馬古利斯（Lynn Margulis）及瑪西婭・比約納魯德（Marcia Bjørnerud）的引領下，並引用J.H. Rosny的早期科幻文本，黛博拉·斯特拉曼呈現出一系列令人驚嘆的影像，從微觀形態到廣袤的景觀，試圖描繪一幅不以人類為中心的演化圖景。