本片由三段故事构成。 门底下的脚影子：以一个五岁孩子小百的眼光去看自己父母吵架的暴力事件，她如何认知父母在打架还是以为他们在跳舞呢？小孩眼里的世界透过纯真幼小心灵所想象的，会将成人的逻辑观念全盘推翻。 遗失的身份证：小百是个十七岁的高中生，在漫画店打工时与一位没有过去的男子相遇，两人共同经历了一段迷幻人生。下班后偷拿来客人的身份证冒充已满十八岁去pub狂欢跳舞、又拿来一张漂亮女子的身份证，打扮成她的样子一起逛街，没想到被警察临检，查到原主人竟是前科累累的通缉犯，吓得两人拔脚就跑，一路狂奔。 游牧民族：第三段既是第二段的互补（第二段抗衡母亲现代行的父权，这一段母女各有各的问题），又是第一段的对照（第一段幻想远比现实美好，第三段反倒梦中母女翻脸厮杀得比现实更泼辣）。记忆（过去式）与梦幻（未来式）模糊了分野，母亲的死与30岁女儿的怀孕生育既暗示母女关系的复制与绵延，又让生死映衬，今昔互喻。这一段不乏神来之笔，譬如母亲死后，跟女儿讲话的男医师身影是模糊的（一种生命中的不确定性），或是日后这女孩跟婴儿共浴时似乎有人走近但见她回头一笑，电影在此作结，留下开放式收场任你去想……

这部纪录片贴身捕捉了马修·巴尼天马行空、繁琐多变的独特魅力，以及盛大场面调度背后的辩证思索。从《挣脱9》到《悬丝》，从筹备选材，到与亲密爱人比约克的合作，马修·巴尼恣意游走于各种艺术形式之间的独特魅力，也在本片完整的纪录中，一一现形。 　　空旷无人的夜间体育场上，一个女人牵着两个巨大的飞船奔跑，飞船上印着个特异的商标；紧接着，各种对体育场与飞行汽船的怀旧与想象奔涌而出。灵感来自马修·巴尼童年时对故乡爱达荷体育场的印象……

喜剧演员吉姆·加菲根笑侃天下大小事，话题天南到地北：冷冻速食、节日趣事、天主教，还有他最喜爱的运动 — 歇着。

A German police state of the past is the setting for the pulsating short film thriller Es gibt keine Angst (Afraid Doesn’t Exist). In it, Anna Zett collages video and audio material from the Berlin Archive of the GDR Opposition, partially taking the perspective of a sensitive child. Based on her own intimate involvement, the artist traces a successful, yet mostly unknown act of resistance at the very end of the GDR, while at the same time opening up an associative space for connecting with experiences of violence that are otherwise difficult to access today. Vocally highly condensed voices from a 1986 East Berlin poetry reading support the voiceless narrator – “an adult child” – in the reconstruction of her own emotional world, as does the multi-layered musical score. From footage of the environmental library to private videos and journalistic material, the film leads to the second occupation of the Stasi headquarters in Berlin-Lichtenberg in September 1990, where it settles into a very different mood. 　　源自：https://www.berlinale.de/en/2023/programme/202312726.html

A German police state of the past is the setting for the pulsating short film thriller Es gibt keine Angst (Afraid Doesn’t Exist). In it, Anna Zett collages video and audio material from the Berlin Archive of the GDR Opposition, partially taking the perspective of a sensitive child. Based on her own intimate involvement, the artist traces a successful, yet mostly unknown act of resistance at the very end of the GDR, while at the same time opening up an associative space for connecting with experiences of violence that are otherwise difficult to access today. Vocally highly condensed voices from a 1986 East Berlin poetry reading support the voiceless narrator – “an adult child” – in the reconstruction of her own emotional world, as does the multi-layered musical score. From footage of the environmental library to private videos and journalistic material, the film leads to the second occupation of the Stasi headquarters in Berlin-Lichtenberg in September 1990, where it settles into a very different mood. 　　源自：https://www.berlinale.de/en/2023/programme/202312726.html

讲述靡了脱番后扔掉武士刀的武士野见勘十郎，与叛逆的女儿在流浪的途中，因为脱番而成为罪人被追捕。遭到逮捕后，勘十郎却因为遇到了被世间称作为奇人的…

Joe（鄧光榮飾）為人正直、有義氣、處事從不拘泥苟且。Joe之兄長誤交損友，被亡命之徒所謂「兄弟」（張國柱、江富德、周比利分飾）陷害，身陷囹圄。Joe替其兄不值，向匪徒討回其兄應得之鉅款，豈料匪徒們因財失義，頓起殺機。Joe不防暗箭，急逃以避其鋒。危急之際，幸遇一美麗動人的芭蕾舞教師Ann（鄭文雅飾）義助，得以脫險……

敢爱敢恨的金融奇才向薇被出轨，是来自丈夫和妹妹的联手背叛。随后她莫名穿越到平行世界，利用自己高超的商业头脑完美逆袭，成功复仇。在爱与背叛的修罗场上，这场充满着荆棘的旅程，又将会为向薇带来怎样的改变？