A black screen. Four voices are heard. Two men are telling and repeating to two others that they are “welcome to the region”. Gradually, the situation becomes clearer: the filmmaker, Zhu Rikun, is on a shoot in Sichuan. His interest is in the lung diseases that plague the region’s workers, a health problem already present in his film Dust and which the Chinese State is trying to hush up. So here he is, invited to a brief interview with the local authorities, which is audio-recorded and played back in full in the film. A raw document that bares the methods of power: the insistence of the censors, their successive changes in strategy ranging from sugar-coated threats to the express demand that the images be destroyed, which only fuels the desire to bear witness even further.
Rachel Watson, devastated by her recent divorce, spends her daily commute fantasizing about the seemingly perfect couple who live in a house that her train passes every day, until one morning she sees something shocking happen there and becomes entangled in the mystery that unfolds.
The tender, heartbreaking story of a young man’s struggle to find himself, told across three defining chapters in his life as he experiences the ecstasy, pain, and beauty of falling in love, while grappling with his own sexuality.
Mia, an aspiring actress, serves lattes to movie stars in between auditions and Sebastian, a jazz musician, scrapes by playing cocktail party gigs in dingy bars, but as success mounts they are faced with decisions that begin to fray the fragile fabric of their love affair, and the dreams they worked so hard to maintain in each other threaten to rip them apart.