女兒面對父母的爭吵感到無能為力，佛像的倒塌也象徵著女兒的內心以及家庭的崩塌。 取材自導演個人經驗，將過去在家庭關係中受到的傷害轉化為動畫呈現，使用2D電繪製作出鉛筆炭色及紋理，以細膩的筆觸刻劃過往的內心傷痕。

在这部纪录片中，惨死路边的女子留下了一个儿子、一名自称是她丈夫的男子和一个像噩梦层层展开的谜团。

在一个叫Spearfish的社区里，一位无聊的年轻女性开始收到被残忍杀害的年轻女性的照片。它们是真的还是上演的？凶手要么是连环杀手，要么是有病态幽默感的变态。

女性恐怖症の写真レタッチャー械（50）は、ある日、体に傷がある女キョウコと出会う。械はキョウコに頼まれ、画像処理によって傷のない美しい姿を生み出す。その姿に魅了されるキョウコであったが、心の奥底で、自分の存在が揺らぎ始める。理想の自分と現実の自分、二つの自分の溝に落ちたキョウコは、精神的混乱に陥ってゆく。やがて、完全に自分を喪失するキョウコ。もはや、自分だけがキョウコを救うことができると感じた械は、死を覚悟して、女を愛する決意をする。 2015年『地球は青かった』で国際平和映像祭グランプリ受賞、2017年発表の『声』が第21回小津安二郎記念蓼科高原映画祭短編映画コンクールにて準グランプリを受賞するなど、短編作品で数々の賞を受賞してきた串田壮史。初の長編映画監督作品となる本作では、次第に愛に目覚めてゆく二人の出会いの奇跡を描き出す。

A bored young woman in a sleepy community called Spearfish starts receiving photographs of brutally murdered young women. Are they real or staged? The culprit is either a serial killer or some creep with a sick sense of humour(部分内容由HD一条街www.hd1tj.org整理)

通过一起由照片引出的案子原本关系紧张的三组组长王智博和副组长何子岳不打不相识，渐渐从敌对走到了默契，但何子岳和王智博小姨的恋爱关系却给两人的合作制造了不少麻烦，最终随着案件的告破两人也终于冰释前嫌。

Made entirely of Scottish film archive, a journey into our collective past, the film explores universal themes of love, loss, resistance, migration, work and play. Ordinary people, some long since dead, their names and identities largely forgotten, appear shimmering from the depth of the vaults to take a starring role. Brilliantly edited together, these silent individuals become composite characters, who emerge to tell us their stories, given voice by King Creosote's poetic music and lyrics.

From the silent era until today, the nightmares that have haunted our screen have been sculpted and embodied by women, but many of those artists have gone unrecognised – a historical oversight this documentary duly takes a chainsaw to. Is horror a man’s world? You might assume so – but you won’t be thinking that way for long once you investigate the vast contribution women have made to horror movies for well over a century. In 2020, award-winning Australian critic Alexandra Heller-Nicholas released the definitive book on the subject: 1000 Women in Horror, 1895–2018, an encyclopaedic work celebrating the many women – filmmakers, actors, producers and technicians – who have shaped the genre since the moment cinema’s light first flickered. In her complementary documentary, US director Donna Davies interviews a stack of powerhouse women in the horror scene, and assembles a bevy of clips from classic and little-known films that women have left their mark on. From filmmaker and programmer Kier-la Janisse (Woodlands Dark and Days Bewitched: A History of Folk Horror, MIFF 2021) and veteran performer Lin Shaye (A Nightmare on Elm Street; the Insidious franchise) to legendary Melbourne film scholars Cerise Howard and Heller-Nicholas herself, interviewees share their personal relationship with horror, addressing each theme the documentary explores sequentially: pregnancy, dolls, ageing, final girls and menstruation, to name just a few. Offering insights into the gender politics often explored through the genre, it’s a discussion that will continue even after you leave the cinema – while the smorgasbord of films referenced will have you scrambling for a pen and paper to take notes. ”Sit down, little boys; the grown-ups are talking.” – Alexandra Heller-Nicholas

The couple Rafa and Matheus have to face the excitement and weirdness of having a third member inside their apartment. What each one shows or hides from each other reveals different ways of facing feelings.

In India, moving images are an essential part of people's lives. But still images are also of great importance for common folk. What are the secrets of Indian photo studios that still have a quite unique approach to capturing reality, or better put, to creating the desired illusion of reality? Most photographs are being retouched with small brushes and pens, eye wrinkles are repainted, chins made rounder and nicer, eyes brighter and lips bigger. Different backgrounds for studio portraits are created every day according to the frequent changes in everyday life. Even the image of the burning Twin Towers in New York on September 11, 2001 became a desired backdrop for studio photos. The horrifying hurricanes flooding the state of Orissa every year have also been painted as scenes that people like to become part of. Even the terrible tragedy of a train accident is a backdrop. What excites people being photographed in studios, posing on request with stomachs held in and big smiles? First, the film director takes us on a journey. To the past, where photography had a special place in the life of the upper classes, but also to the present, when photography becomes completely democratized, emphasizing how the history of photography has its continuity. Secrets of Indian photo craftsmanship are kept in the archives of the hundred-year-old Kolkata studio.