利奥 (Leo) 和亚历杭德拉 (Alejandra) 试图配制一种突破性的精华液来帮助他们的亲人，同时与威胁和推动他们野心的个人恶魔作斗争。

利奥 (Leo) 和亚历杭德拉 (Alejandra) 试图配制一种突破性的精华液来帮助他们的亲人，同时与威胁和推动他们野心的个人恶魔作斗争。

A young, seemingly mute woman has been fixed to the wall of an apartment with a long metal chain. She is being kept as a slave in the home of taxi driver Phanishwar, where she sleeps on a table and cooks for him. Phanishwar is a fervent supporter of the right-wing extremist guru ‘Baba’ and spreads his hatred in the commentary sections of social networks. One day he meets a young woman, Rami, who has had to go underground in Goa after a secretly filmed sex video in which she appeared went viral on the internet. He becomes her driver, whilst secretly stalking her online. Indian director Q does not shy away from controversy, having already succeeded in inflaming passions with the dark tales in his feature film debut, Gandu. His stylishly shot revenge story Garbage revolves around two women who are exposed to different forms of oppression. Q initially takes time to develop the events, making some (queer) detours until eventually, things radically change. And when female martyrdom turns into retaliation, the director finds drastic images for the filmic deconstruction of (Indian) masculinity.

A young, seemingly mute woman has been fixed to the wall of an apartment with a long metal chain. She is being kept as a slave in the home of taxi driver Phanishwar, where she sleeps on a table and cooks for him. Phanishwar is a fervent supporter of the right-wing extremist guru ‘Baba’ and spreads his hatred in the commentary sections of social networks. One day he meets a young woman, Rami, who has had to go underground in Goa after a secretly filmed sex video in which she appeared went viral on the internet. He becomes her driver, whilst secretly stalking her online. Indian director Q does not shy away from controversy, having already succeeded in inflaming passions with the dark tales in his feature film debut, Gandu. His stylishly shot revenge story Garbage revolves around two women who are exposed to different forms of oppression. Q initially takes time to develop the events, making some (queer) detours until eventually, things radically change. And when female martyrdom turns into retaliation, the director finds drastic images for the filmic deconstruction of (Indian) masculinity.

【垃圾】是一齣發生在一個香港老社區的迷你「公路電影」。 　　「社區 」(Community) 是一個奇怪的詞，它不像「家庭」般溫暖，但對一些人來說，像故事中的角色，他們並沒有一個模範的家，然而在這個晚上，他們「有著」彼此。 　　七十多歲的笑姨，在家中再次受到兒子無情無理的恐嚇虐待。忍養一生，她決定把一早就應拎掉的梳化推出家外，獨自步行到垃圾站。在夜半的街角，笑姨碰上認識了卅多年的老街坊堂哥。 　　這一個夜，二人行行停停，推著破舊沉重的梳化，走過夜靜的老街、便利店、公園、天橋底、垃圾站......；路上遇見不同的人、物、以及孤獨的風景......。這段路，看出二人與家人的問題，也看到了那血濃於水的羈絆；老朋友的相助，給悲傷的笑姨帶來了點點溫暖和生氣；可是，殘忍的現實卻仍舊荒涼重復。 　　隨着燈光、場景、聲音、剪接，觀眾彷如置身其中，和兩個主角一起在炎熱的夜空中，在香港的老社區遊走。透過溫婉溫和的視角，感受他們的疲憊、失望、關注、擔憂、無奈與及「放下」......。 　　老和死之間，還隔著一段人生。

16mm胶片拍摄。姐姐前来告知自己多年未见的弟弟关于母亲的丧事，家庭中积压多年的情绪在暗中发泄出来。

腕っ節が強く地元では向かうところ敵なしの青年・本堂ケント（ELLY）は勢いで上京するも何もかもが順調に進まず、さらにもめ事を起こしたことで仕事先からも追われてしまう。地元に戻った彼は、高校時代に付き合っていた女性が、夫の借金によってトラブルに巻き込まれていることを知る。夫の行方を捜しに東京に戻ったケントは闇金に殴り込みをかけるが、そこは元暴走族が仕切る地下組織に関わる店だった。

Venice, 1580. The Marquis Della Porta lives alone in his villa with his secretary Jacopo, his servant Paolo and his beloved courtesan Veronica. Veronica is the only female and the three men are in love with her.

热气腾腾的拖拉机手马特维莫罗佐夫从“不那么遥远”的地方返回家乡。他记得他结婚的故事，他的毁灭性的爱，不可抗拒的背叛和燃烧的“犯罪”，他不后悔。在村里的第一个家伙，马特维莫罗佐夫是一个集体农庄主席真正的头痛。我真的为十个人工作，但戈雷兹是一个虚构的。此外，他爱他的女儿拉里斯。马特维的另一个出口是拖拉机的“赛跑”，与棉花的先进生产商，导致拖拉机坏了。他们几乎把马特维的审判，而不是他和拉里萨结婚。然后我们开始在村里听到马特维的“友谊”与新的动物技术的语气。拉丽莎很嫉妒，她想告诉对手。还有，当地的绯闻女孩和一个赛车手阿廖夫娜奶奶，她往火里点了点油，给马特维和托妮带来了新的信息

微笑着的胖女人，空无一人的餐厅，只有一只嗡嗡作响的苍蝇满屋乱飞。她开门吹起口哨，一个拖着玩具汽车的小男孩进屋就餐。口哨声仿佛指令一般，催促着监视着小男孩赶快吃饭。时间马上就要到九点了。可是在小男孩眼中，这却是如同蹲监狱一般痛苦难熬。他把胖女人想象成看守人，餐厅就是冰冷灰暗的囚室。还差几分钟就是九点了。男孩只好吃起了饭。一个意想不到的发现改变了这一切——粥碗下是条深不可测的通道，他终于可以逃出这座监狱了。终于，他逃出了这座暗无天日的监狱。九点整，也许事实并非如此。 　　本部水彩手绘动画短片，以极其简单的人物形象跟故事情节，道出了一个深刻的生活无奈：也许终其一生，不过是在他者的监视和控制下求得生存吧。