The family cat, out for the night, stalks and catches a bird singing atop the weathervane, but it flies off, pulling the cat and weathervane down and knocking the cat out. The cat has a vision of giant birds, lacking the tailfeathers he pulled out, tormenting him, and soon, everything in the autumn landscape is animated and scary.

秋千　　拥有完美外貌、性感声线的著名乐评人成熙在某日的广播直播中单方面宣布离婚，后随十多年的老友东民一起逃到江陵。次日早晨，逐渐冷静的成熙虽没有联系妻子，但心中已生出愧疚之情。于是，成熙和东民一起返家，却发现一封分手信，原来，妻子早于成熙宣布离婚的头一天离家出走。同床共枕了三年，如今却走到今天这样荒唐的地步，实在令人匪夷所思。　　本来想离婚的成熙此刻却生出一种被人抛弃的感觉。他联手东民，决心找到行踪不明的妻子。他们通过翻找妻子的手机联络记录、向左邻右舍打探消息等方式，期望可以找到蛛丝马迹，却陷入更大的谜团中。后来，一个被妻子称为兄长的男子柳郭走入了他们的视线……　　三个束手无策的男子走到一起，会发生怎样意想不到的妙趣故事呢？

秋千　　拥有完美外貌、性感声线的著名乐评人成熙在某日的广播直播中单方面宣布离婚，后随十多年的老友东民一起逃到江陵。次日早晨，逐渐冷静的成熙虽没有联系妻子，但心中已生出愧疚之情。于是，成熙和东民一起返家，却发现一封分手信，原来，妻子早于成熙宣布离婚的头一天离家出走。同床共枕了三年，如今却走到今天这样荒唐的地步，实在令人匪夷所思。　　本来想离婚的成熙此刻却生出一种被人抛弃的感觉。他联手东民，决心找到行踪不明的妻子。他们通过翻找妻子的手机联络记录、向左邻右舍打探消息等方式，期望可以找到蛛丝马迹，却陷入更大的谜团中。后来，一个被妻子称为兄长的男子柳郭走入了他们的视线……　　三个束手无策的男子走到一起，会发生怎样意想不到的妙趣故事呢？

陌路餘生，孤獨女子遇上計程車司機，都是有故事的人。他們彼此共行一段路，擦出微微火光，直到警 　　察找上門。關於回家，誰能引路？寂寞蒼涼，影像和故事同樣冷硬，直探城市黑暗之心。

《离开家》（Leaving Home）讲述的是，父亲认为理查德已经长大成人，该离开家庭的怀抱，到外面的世界去适应生活。尽管理查德不愿意，并且以各种怪异的理由，各种奇妙的方法回到家里，但是，终究有一天，当一场不幸降临的时候，才是理查德真正长大的开始。 　　短片多次以理查德让妈妈帮其涂面包酱为镜头，切入到世界这个家庭的温室里，妈妈永远是溺爱的港湾，爸爸始终是现实的面包。

とある道――。目の前には高いビル。 　　そのビルの前に座り込んでいる４人の男子中学生、久米、小島、木田、富山。 　　学校帰りにフラリと立ち寄ったその場所で、彼らは何気ない日常を反芻し、他愛もない会話を繰り返す。 　　なんとなく、家に帰りたくない。 　　そんな時、富山が路上に寝転んだまま、動かなくなってしまった。 　　ビルのベランダには、自殺願望者なのか意味深な行動をする男性。 　　そして、動かなくなった富山を迎えに、バイトを抜け出してきた姉が現れる。 　　彼らは夕闇に包まれながら、それぞれの明日を見つめるかのごとく、静かに時間は過ぎていく…。 　　家に帰りたくない。まっすぐに家族に向き合えない。 　　でも、誰かの近くにいたいし、話をしたい。 　　10代のデリケートに揺れ動く心をリアルな会話とみずみずしい感性で描く、衝撃の青春群像劇！！

该片以喵咪为视角，讲述一些非常特别的小猫出生第一年，从无助小毛球转变为优雅独立的冒险家的历程，这些无助的小毛球如何睁开眼迈出第一步，探索新世界。萌翻人心，猫控必看。

13岁的吉玛（薇诺娜·瑞德 饰）从小和爷爷（杰森·罗巴兹 饰）一起住在乡下。有一天她的母亲（简·亚历山大 饰）突然现身要带她去城市生活。她的母亲已再婚，终于有了能力抚养吉玛，吉玛决定跟随她搬去城市。在城里，她遇见了一个有智力缺陷的男孩（罗伯·劳 饰），他们终日玩耍，想象着与彼此厮守。

As in his earlier films, this uncompromising Iranian director works through repetition, his style so unemphatic that the slightest modulation (the same action seen from different perspectives, for instance) carries a charge. Saless' camera simply fastens, in long, uninflected takes, on the daily rountine of a Turkish worker in Berlin, a Gastarbeiter like any other. We see him at his job, a dedicated prisoner to his monotonous machine; travelling home on the underground, where only a drunk will talk to him; walking home to the shabby room he shares with other Turkish workers, and where he ocasionally writes letters home and regularly counts his money. The determined austerity has an almost mesmeric effect; and seems almost too calculated until one begins to feel the enervating isolation of these mortgaged lives. For all that the foregin worker tries to engage with his adopted city (and he does try, inarticulately but with an innocent single-mindedness), he might just as well have come from another planet." 　　David Wilson, "Sighe and Sound"

As in his earlier films, this uncompromising Iranian director works through repetition, his style so unemphatic that the slightest modulation (the same action seen from different perspectives, for instance) carries a charge. Saless' camera simply fastens, in long, uninflected takes, on the daily rountine of a Turkish worker in Berlin, a Gastarbeiter like any other. We see him at his job, a dedicated prisoner to his monotonous machine; travelling home on the underground, where only a drunk will talk to him; walking home to the shabby room he shares with other Turkish workers, and where he ocasionally writes letters home and regularly counts his money. The determined austerity has an almost mesmeric effect; and seems almost too calculated until one begins to feel the enervating isolation of these mortgaged lives. For all that the foregin worker tries to engage with his adopted city (and he does try, inarticulately but with an innocent single-mindedness), he might just as well have come from another planet." 　　David Wilson, "Sighe and Sound"