2014年7月24日，24岁的南加大研究生纪欣然在学习结束回家的途中遭四名歹徒抢劫，并被殴打致死。为伸张正义，华裔女律师蔡玟慧代表被害人家属义务出庭，开始了长达数年的艰苦诉讼。

2014年7月24日，24岁的南加大研究生纪欣然在学习结束回家的途中遭四名歹徒抢劫，并被殴打致死。为伸张正义，华裔女律师蔡玟慧代表被害人家属义务出庭，开始了长达数年的艰苦诉讼。

For every movie made, dozens of pictures remain missing forever. MISSING PICTURES gives directors a chance to tell the story that would otherwise never be told. Each episode invites one filmmaker to narrate some key points of the movie, why the movie was so important for them at the time and why it was never made. 　　Episode 1: Abel Ferrara, Birds of Prey (USA) 　　In this episode, we meet long-time independent American filmmaker Abel Ferrara. ‘Birds of Prey‘ would have been the political thriller of his dreams…until it all fell apart. The neo-noir, provocative director behind movies like Ms. 45 (1981) and Bad Lieutenant (1992), takes us with him on a journey through the heart of his unfinished story based in the 70’s New York City. 　　Episode 2: Tsai Ming-Liang, The Seven-Story building (Taïwan) 　　Tsai Ming-Liang, the Taiwanese maestro of slow cinema, doesn’t have a real “missing picture”, but what he does have are childhood memories, so vivid that it is impossible for him to film. The filmmaker seizes the medium of virtual reality to go back to the Malaysia of his childhood, when his grandparents took him to see two movies every night. Rather than telling us about an unmade film, Tsai Ming-Liang transforms the exercise into a making-of of his entire film career. 　　Episode 3: Catherine Hardwicke, The Monkey Wrench Gang (USA) 　　After Twilight Chapter 1’s huge box-office hit, American filmmaker Catherine Hardwicke tried to make an adaptation of The Monkey Wrench Gang by Edward Abbey, a cult book of the 70s American counterculture and a precursor of eco-activism. The director revisits this project which excited her so much and which became, because of the reluctance of the Hollywood studios, one of these umpteenth “ghosts of the garage”. 　　Episode 4: Lee Myung-Se, Father is gone (South Korea) 　　Father is gone could have been Lee Myung-se’s debut film, but slipped into a long hiatus instead. After thirty years busy directing unprecedented features in Korea like First Love or Nowhere to Hide, Lee finally brings the lost project back to life through virtual reality. Set against the backdrop of a family of three moving to the outskirts of Seoul in the 1960s – where the director himself grew up – Father Is Gone questions the place of the father in the traditional Korean culture. 　　Episode 5 : Naomi Kawase, Oh Debu (Japan) 　　The most celebrated female filmmaker from Japan revisits a project that she envisioned after her 2015 film Sweet Bean. Oh Debu tells the story of Aya, a 27-year-old, overweight and over romantic woman. Through this story, Naomi Kawase wanted to give herself a challenge trying to make a comedy, far from her naturalist, poetic previous work.

1990年代，华裔加拿大艺术家黄良开启了一项个人视频项目，勇敢地记录自己与HIV共存的经历，然而这个项目最终未能完成。在他去世三十年后，电影制作人陈乐施偶然发现了这些遗留在时光中的影像资料，并决定将其编辑成片，以此纪念这位艺术家及其未竟的作品。

《父亲走了》本来是李明世的处女作，但陷入了漫长的停滞期。在韩国执导《初恋》、《无处藏身》等类型片三十年后，李明世终于通过VR将这一项目带回了现实。该片以导演经历的1960年代一家三口搬到首尔郊区为背景，对韩国传统文化中父亲的地位提出了质疑。

1990年代，华裔加拿大艺术家黄良开启了一项个人视频项目，勇敢地记录自己与HIV共存的经历，然而这个项目最终未能完成。在他去世三十年后，电影制作人陈乐施偶然发现了这些遗留在时光中的影像资料，并决定将其编辑成片，以此纪念这位艺术家及其未竟的作品。

《父亲走了》本来是李明世的处女作，但陷入了漫长的停滞期。在韩国执导《初恋》、《无处藏身》等类型片三十年后，李明世终于通过VR将这一项目带回了现实。该片以导演经历的1960年代一家三口搬到首尔郊区为背景，对韩国传统文化中父亲的地位提出了质疑。

Fox Rich, indomitable matriarch and modern-day abolitionist, strives to keep her family together while fighting for the release of her incarcerated husband. An intimate, epic, and unconventional love story, filmed over two decades.

Fox Rich, indomitable matriarch and modern-day abolitionist, strives to keep her family together while fighting for the release of her incarcerated husband. An intimate, epic, and unconventional love story, filmed over two decades.

来自加沙的巴勒斯坦男孩穆希跟祖父一直生活在以色列的一家医院里。出于安全考虑，两人只能在医院范围内活动。 　　当穆希的父母在加沙身陷困境时，他在以色列得到治疗，并且被“族人的敌人”养育。 　　为了救活穆希，以色列的医生不得不截掉他的四肢。远在加沙的穆希的父亲认定儿子的手术为医疗事故，要求医院将穆希送回家。但以色列和加沙两方的医生都一致认为加沙的医疗体系极其脆弱，对于孩子来说，回去的后果可能是致命的。