A Korean immigrant falls in love with her best friend while navigating her way through the challenges of living in a new country.

Chiranjit and Bubai are two young transgender friends from Kolkata. Hailing from poor and uneducated families, they confronted social castration from a tender age. However, it helped strengthening their bond as friends. Bubai, often mistreated in his family, seeks love and care outside. He falls in love with a boy only to be dumped for a 'real' girl. Chiranjit, an only child, is relatively accepted by his parents. He wants a good job. But nobody wants a feminine boy in company. In 2009, they joined Manas Bangla, a non-profit organization working in LGBT advocacy and HIV awareness. Their job is to generate consciousness amongst high risk youth and bring them in for blood test. Days pass. Bubai gets a new boyfriend. He is happy now. Chiranjit gets a promotion in Manas Bangla and becomes Bubai's superior. But this development in their personal life and career opens up a rift. Soon they stopped talking to each other.

Felix and Katrin have been together for quite a while and live together. Felix works as a waiter. Katrin hates her economic studies and her job at a call center. Common dreams? They haven’t had those for a while either. When Katrin’s new friend Christina offers her a job as an assistant for a fashion shoot in Milan, Katrin suddenly feels like she has some perspectives in life, after all. But Felix doesn’t like her new friends and cannot share her euphoria, which doesn’t help their difficult relationship. Katrin’s mother is somewhat critical of her daughter’s relationship and wants to have a heart-to-heart talk with her. Felix seeks distraction with his friends in the pub.

For the essay film “Days In Between” Marianna Christofides has been recursively visiting the Balkans for the past four years, at first seeking out sites along borders lying by rivers and lakes, where the course of the boundary remains indefinite. After having lost the entire first block of footage, the data on the hard drive not being retrievable, she sets out anew, only to witness that the places do not exist anymore in the same way. Topography changes insomuch that landscapes seem to vanish and observations “antiquate”. The approach of the film extends accordingly, now focusing on loss, omissions, disappearances without trace. The spiralling vacuum of stereotypes and metaphors, the appropriation of geological terms in political parlance that characterize the gaze of the West onto the region comes to the fore. Rivers become amphibious, both solid and liquid, as they separate bank from bank whilst connecting along their course.

Lynn is a cheerful 22-year-old who works at a cafe and lives with her brother. Though she has no real direction in life, she is happy. Conversely, her boyfriend, David, is a career-driven swimmer who seems to care only about his training. Then Lynn meets Japanese exchange student Koji, and, though they speak different languages and spend most of their time together in silence, the two soon become closer than she and David had ever been.

Kazuki Suzumoto is divorced and he lives with his 15-year-old son Kouki. Kouki is in a susceptible time. The father feels guilty about his son. Kouki then fails his high school entrance exam. In the spring of the following year, Kouki barely passes his high school entrance exam. Kouki mentions to Kazuki that he likes his father's lunch box. The father and son make a promise to each other. Kazuki promises that he will make a lunch box everyday for Kouki. Kouki promises that he will never skip school.

Francisco, a man with autism resides secluded, ignored and locked away. He's a burden on his brothers, and decides to flee into the forest, where he befriends a rat.

Silvia (35) and her daughter Mara (9) enter Bucharest at midnight. They ran away from home after a violent family conflict. They plan to stay with Silvia’s sister, at least until the next day. Throughout this eventful night, Silvia discovers that everyone has already decided what kind of help she needs. For Mara it’s a night that changes the way she perceives the adults around her.

Stepping closer and closer to his retirement, Hayao Miyazaki has no other means, but to choose up a new director. Ghibli's given some creative freedoms in the past, but they hardly lasted. Maro, an animator of 37 years. has done a good deed of works in his prior days. Thus, Miyazaki-san decides to appoint him as a new director for the upcoming feature of 'Arrietty the Borrower'.