Bruce Conner described Looking for Mushrooms in the 1975 Film-Makers' Cooperative Catalogue as a “[f]amous documentary containing full information. Special effects by Isauro Nava, Rancho del Cura, Huatla de Jimenez, Mexico. Sound by John Liniment and frenz”. In 1962, Bruce Conner left San Francisco and moved to Mexico, apparently intending to “wait out the impending nuclear holocaust” (1). He spent about a year in Mexico before running out of cash and patience, and returning to the United States. During his year in Mexico, Conner hosted psychedelic guru Timothy Leary, who he had met on an earlier visit to New York. Conner and Leary occupied themselves with mushroom hunts in the Mexican countryside. It's not clear whether their hunts were successful. But Conner's staccato home-movies of their walks – combined with movies of previous mushroom hunts in San Francisco – became his film Looking for Mushrooms. The film rushes through the rustic landscape of rural Mexico, flitting past houses and through a crumbling graveyard. It's quite a contrast to Valentin de las Sierras (1967), Bruce Baillie's serene portrait of life in a Mexican village. But the quality of the image is similar, sun-blasted colours bleached to pastel. Conner cut Looking for Mushrooms down to 100 feet in 1965 in order to fit it into an endless-loop cartridge for continuous projection. In 1967 he added a soundtrack by The Beatles (“Tomorrow Never Knows”). Thirty years later, Conner revisited Looking for Mushrooms, extending it to 15 minutes by repeating each frame five times and adding a new soundtrack – “Poppy Nogood and the Phantom Band” (1968) by Terry Riley. Later, Conner exhibited Looking for Mushrooms as an interactive sculpture, threading a print on a Moviscop viewer for museum patrons to view on their own.

讲述三个美国少女克洛伊、萨迪、莉莉都是从中国领养的，她们在23andMe(一家上市个人基因组和生物技术公司)发现彼此是有血缘关系的亲戚。三人在线上会议激励年轻女性面对关于她们错位历史的迫切问题，第一次见面后，她们开启了千载难逢中国之旅，寻找答案。

Gabrielle "Gabi" Mosely, a recovery specialist, and her crisis management team works to find missing people who they believe are overlooked by the system. Her team of experts consists of those who have either been kidnapped themselves, or have a loved one who has been kidnapped. A kidnapping victim herself, as a teenage girl, Gabi secretly kidnapped the man who abducted her, Hugh "Sir" Evans, and has been keeping him locked up in her basement for seven months. Gabi uses Sir's knowledge as a kidnapper and criminal to help her solve cases.

1980年，一个理想主义的中产阶级电影导演企图以他手中的传媒来再现1943年的孟加拉大饥荒，以此作为社会转变的武器。村民们纷纷伸出帮助之手，有人为剧组准备了酒菜，有人带他们参观一座古老的大楼。就在这座大楼的一间房里，有一个妇女守着她瘫痪的丈夫，他就是这幢房产17个房主之一。电影开拍了，片名叫做《寻找饥荒》，入夜，影片女主角来找老人的妻子，老人静静地听她们谈话，他理解了女主角内心寂寞的恐惧。摄影队看着室内排练饥民的照片，演员们异常真实地再现了1943、1959、1971年饥荒的情景。随着摄影的进展，摄影队已经在不同程度地影响着村民的生活，一个老农埋怨他们在找回旧饥荒同时还在制造新的饥荒。

A young female filmmaker investigating her mother’s disappearance.

NBC获得了Geoffrey Nauffts开发的家庭剧项目《找寻美好 Find The Good》。该剧改编自Heather Lende所著的回忆录《Find the Good: Unexpected Life Lessons from a Small-Town Obituary Writer》和《If You Lived Here, I’d Know Your Name》。剧中，住在阿拉斯加小镇的主角是一位讣告写手，同时也是四个孩子的母亲。在每周撰写讣闻的过程中，这反而教会了主角如何生活。

來自孟加拉Rahul離鄉背井往杜拜當建築師，之後奉命往加爾各答接手重建工作。回國後與為他離家的女友Paoli團聚，同時驚聞他的胞弟失心瘋失去影蹤，原來他只想躲在森林樹屋隱世。出生斯里蘭卡的影人維穆卡提．加亞桑德拉在2005年首作《眾神遺忘之地》和《超時空戰紀》（第七屆）表達的世界觀，在康城和威尼斯交鋒獲好評，新作《菌類生命》的社會觀呈現人多樣性複雜性，過度開發的城市讓人如腐生，無論活在都市或原野的寄生菌兄弟不斷噬食生命，這就是生命的意義。

我家的一个盆栽里总是会长出一颗又矮又圆的蘑菇，随着我发现自己与这颗蘑菇之间的相似处，我对这颗蘑菇的态度也发生了转变。

刘雨佳的短片将纪实素材、文学、民族志、民俗学和游记编织在一起，形成具身性、情动式的体验。她以亚洲的自然景观作为创作的主题和背景，其抒情风格打破了纯纪实与叙事故事之间的界限。她的作品表现出沉思性和象征性，通常关注其他生命形式，从而将人类降格为次要的角色。 在《蘑菇》中，艺术家将镜头对准了东北亚的北方森林。阳光穿过树冠在林中洒下斑斑点点的光线，镜头透过林地上的微生态系统，追随着能量与信息的传递，呈现出蘑菇、苔藓、昆虫和土壤之间盛大的共生之舞。