当一颗巨大的小行星将地球拉出轨道并破坏地面的混乱时，一个人发现了可以拯救人类的秘密政府计划。

当一颗巨大的小行星将地球拉出轨道并破坏地面的混乱时，一个人发现了可以拯救人类的秘密政府计划。

姜念从小被家人道德绑架，将自己的一切都让给了体弱多病的表妹林萌萌，并给其献血长达十年之久，直到姜念被医生确诊血癌，只有三个月寿命，姜念在打击之下也看清了家人爱人的嘴脸，姜念因此与家人断绝关系，在暗恋自己十多年的竹马帮助下，姜念在揭开林萌萌和原本自己未婚夫的订婚宴上揭开了她的丑陋面目，所有人才意识到这些年对姜念的所作所为，悔不当初，想要弥补，但为时已晚，姜念绝不原谅！

儿时星星和叶子被拐卖，为救星星，叶子被人贩打断腿。二十年后，叶子已成为有头有脸的总裁，叫做宁景深，宁景深为了满足奶奶愿望被迫与姜家成婚。而姜家父母不想让亲生女儿嫁给瘸子又贪图宁家财产，让养女姜星替嫁。

林肯总统签署的最后一项法案授权将联合太平洋铁路穿过荒原推向加利福尼亚。但金融投机家阿萨-巴罗斯（Asa Barrows）希望通过阻挠这条铁路获利。首席故障排除专家杰夫-巴特勒（Jeff Butler）手忙脚乱地与巴罗斯的代理人、赌徒希德-坎普（Sid Campeau）斗智斗勇；坎普的合伙人迪克-艾伦（Dick Allen）是杰夫的战友，也是工程师女儿莫莉-莫纳汉（Molly Monahan）的情敌追求者。谁能在不惜一切代价推动铁路贯通的努力中幸存下来？

林肯总统签署的最后一项法案授权将联合太平洋铁路穿过荒原推向加利福尼亚。但金融投机家阿萨-巴罗斯（Asa Barrows）希望通过阻挠这条铁路获利。首席故障排除专家杰夫-巴特勒（Jeff Butler）手忙脚乱地与巴罗斯的代理人、赌徒希德-坎普（Sid Campeau）斗智斗勇；坎普的合伙人迪克-艾伦（Dick Allen）是杰夫的战友，也是工程师女儿莫莉-莫纳汉（Molly Monahan）的情敌追求者。谁能在不惜一切代价推动铁路贯通的努力中幸存下来？

In the first scene, two men stand outside of a car, waiting for the air conditioner to cool down the vehicle. As one puts on some house music using the car’s CD player, their silence is broken into a state of indescribable feelings. In the second scene, shot on Super 8 film, a person tries to recount a story as he spins a pen around in his hands. As he narrates the story which he cannot fully remember, he ponders this unusual amnesia. In the third scene, also filmed on Super 8, focuses on two pairs of hands cutting each other’s nails, the caring yet sensitive gesture were echoed by the intertitles. The fourth scene features a woman standing in a forest putting tiger balm on her body. And in the last scene, two people are playing cat's cradles, while two voices exchanges stories of inexplicable gestural encounters with other queer bodies. 　　Improvised with a non-white cast, and prominently featuring queer and Asian bodies, these fragmented memories, uneasy gossip, and moments of silence, center on one key question: When the idea of an individual subject cannot take form, how might we reconsider being visible, audible, or legible?

In the first scene, two men stand outside of a car, waiting for the air conditioner to cool down the vehicle. As one puts on some house music using the car’s CD player, their silence is broken into a state of indescribable feelings. In the second scene, shot on Super 8 film, a person tries to recount a story as he spins a pen around in his hands. As he narrates the story which he cannot fully remember, he ponders this unusual amnesia. In the third scene, also filmed on Super 8, focuses on two pairs of hands cutting each other’s nails, the caring yet sensitive gesture were echoed by the intertitles. The fourth scene features a woman standing in a forest putting tiger balm on her body. And in the last scene, two people are playing cat's cradles, while two voices exchanges stories of inexplicable gestural encounters with other queer bodies. 　　Improvised with a non-white cast, and prominently featuring queer and Asian bodies, these fragmented memories, uneasy gossip, and moments of silence, center on one key question: When the idea of an individual subject cannot take form, how might we reconsider being visible, audible, or legible?

在中年危机的高峰期，一位全职妈妈不惜一切代价赢得她十几岁女儿的友谊和钦佩，甚至通过参加避暑胜地的选美比赛来面对她最深的恐惧。

在中年危机的高峰期，一位全职妈妈不惜一切代价赢得她十几岁女儿的友谊和钦佩，甚至通过参加避暑胜地的选美比赛来面对她最深的恐惧。