Claire is under the grip of a mysterious new cult called Faults. Desperate to be reunited with their daughter, Claire's parents recruit one of the world's foremost experts on mind control, Ansel Roth.
사랑하는 아내 로지(에린 카프럭)의 병을 고치기 위해 초과근무도 마다하지 않는 현금수송차 안전요원 짐(도미닉 퍼셀). 그러나 점차 늘어나는 병원비를 대기 위해 묻어뒀던 펀드를 확인한 짐은 충격적인 소식을 듣는다. 바로 증권사의 잘못된 투자로 전 재산을 잃어버리게 된 것. 설상가상으로 두 배로 치솟은 이자로 인해 돈을 갚지 못하게 되자 은행에 집을 빼앗기게 되고, 증권회사의 파산으로 소송을 걸 상대조차 없어져버린다. 게다가 회사는 업무의 성격상 재정 문제가 있는 짐을 해고한다. 한편, 로지는 사랑하는 짐이 자신으로 인해 곤경에 처한 모습을 보며 괴로워하다 자살을 선택하고 마는데… 잃어버린 소박한 삶, 책임을 지지 않는 이들에게 정의의 심판을 내리다!
Anders moves from the city to a quiet small farm that belonged to his deceased parents and spends his days out in the forest, aimlessly chopping down trees. His only desire is to be out in nature, and to lose himself in the physical work. His attempt to escape is soon interrupted by the constant involvement of his pushy relatives who want to tell him what to do and how to do it. Soon it becomes clear that Anders has just traded in one claustrophobic existence for another.
An amateur comedian who tries to make a name for himself doing Stand Up Comedy in several bars in Bogota, with no money and still living with his parents, pretends to be someone with money to meet his better half, without knowing that she also hides some secrets.
A young director, who sits in front of a commission defending a film based on her own experiences with sex and relationships, is continually confronted with questions about why she’s making the movie. The answer doesn’t come easy… Linde took on a difficult task for her short film.
Its the annual Christmas Eve concert at the Marigold House Assisted Living Facility. All her friends are dying and Florence wants out. When the facility double books two rival Elvis impersonators, Florence takes the opportunity for one last hurrah.
Going through personal crisis, Tihi is struggling between two extremes: come to be through music career or to take easy way.
In this early exercise work of the director, three vignettes get intertwined within space and time. Often raw, often illusory, each vignette focuses on different surfaces of existential crisis of seemingly different characters. But, are they really different at all?