方寸池塘的一滴水珠中，暗藏着微观又恢弘的别样天地。水珠翻涌、碎裂之间，这个迷你世界里不断上演着诞生、消亡、情爱与追逐等生命百态。影片以极具实验性的多元材质置换定格与二维动画设计，展现出水下的奇幻秘境。

Ono’s work related destruction to interpersonal, often intimate, human relations. This element was particularly thought-provoking in ‹Cut Piece›, one of many actions she did as DIAS [Destruction in Art Symposium]. Ono had first done the performance in 1964, in Japan, and again at Carnegie Hall, in New York, in 1965. Ono sat motionless on the stage after inviting the audience to come up and cut away her clothing, covering her breasts at the moemnt of unbosoming. ‹Cut Piece› entailed a disrobing, a denouement of the reciprocity between exhibitionism and scopic desires, between victim and assailant, between sadist and masochist: and, as a heterosexual herselft, Ono unveiled the gendered relationship of male and female subjects as objects for each other. (source: Kristine Stiles,«Uncorrupted Joy: International Art Actions,» in: Out of Actions: between performance and the object, 1949–1979, Paul Schimmel (ed.), MoCA Los Angeles, New York/London, 1998, p. 278.)

Both an homage and a new look to the old style anthology films. Five different films, five different styles.

父亲弄丢宠物狗乐乐之后，女儿在原本用来监看乐乐的监控里，切片式地参与了父母的生活。

刚踏入新居的妻子徐曼怀孕了，这让她本就不适的婚后生活更加难以自如，对生育的恐慌与丈夫的不理解也形成了难以调和的冲突。徐曼决定不要孩子，并对突然到访的婆婆保守秘密。

青春期的小美长时间遭受家庭暴力，心理受到极大创伤，看似每天平静的生活，父女二人却各自心怀秘密。为了引起父亲的注意，小美决定偷走他的秘密…...

我尝试用生物显微镜的方法观察面前的城市。

本作的故事发生在一条铁路道口前，剧中的每个小故事均为不同角色在等待电车通过时进行的闲聊，她们的聊天话题涉及到许多方面，而当列车通过道口，行人可以正常通过时聊天便迎来结束。

电子饮水机烧开一壶水的时间不到一分钟，然而山区农村的八旬老人烧开一壶水却需要半个小时。同样是烧一壶水，时间在八旬老人身上仿佛是被拉长了一般。在快节奏、飞速发展的当今社会，所有人都在为工作、生活马不停蹄地奔波着，时间在重复的工作中犹如白驹过隙，鲜有人会停下脚步，慢慢地等一壶水开。本片纯粹记录了八旬老人烧开一壶水的过程，这个过程是缓慢的、枯燥的，但却是自然的、真实的，旨在倡导一种慢节奏的生活方式。