Chan Hin Ko

Kwan believes that she is unique. Enclosed in solitude within her own literary world and deprived of affections from her family, she longs for love in whatever form it takes - no matter how distorted. She considers the detention class with Mr Cheung a shelter from the world, until it is shattered together with all her hopes. She finally comes to the realisation that it is the world that goes against her. There is no hiding place for her no matter how hard she struggles……

Angela has no doubt that "one of these days, father will come back from the outer space to take her away because he is an alien." This thought was instilled by Angela's mother who committed suicide due to severe mental illness. Ever under the watchful eyes of her grandmother and psychiatrist, Angela starts to hear voices from the sky. Weary and scared, the grandmother has no choice but to send Angela for hospitalization. Angela's belief and longing for reunion with her parents grow stronger than ever. Eventually, she takes a leap of faith in finding her own destiny.

Death is a moment whose reverberation endures for the living. Three students from the Audio-Visual team are shooting a documentary on a schoolmate who has recently committed suicide. It is intended to convey a ‘positive message’ to the entire school about the importance of life. During interviews, the students notice some discrepancies in the testimonies, particularly those by a prefect and a teacher, while friends of the deceased seem to be withholding some inconvenient truth. Should the team pursue the truth, or act as the school’s propagandist? Filmed in a mocumentary style, The Handbook of Suicide Prevention challenges and exposes the hypocrisy and suppression that haunt adolescence.

Hang dreams of suffering from sleep paralysis. Strange events then ensue, including: a new coworker acting oddly, a man behaving bizarrely in the men's restroom, and a photocopy machine spitting out envelopes. In the end, he even saw a bald man he met in his sleep. After work, he boards a reckless minibus speeding down the road, and he finally understands the true meaning behind all these bizarre incidents.

Ting and her friends go to Mui Wo where they see cows freely walking around. Someone appears and reminds them not to disturb the cows. The next day comes the news that seven cows were killed in a car accident at Mui Wo, which catches Ting and her friends’ attention. Ting starts a fundraising campaign hoping to build a cows’ shelter but is taken as an act to trick people’s money. The disheartened situation brings Ting to revisit the site, where she meets Sunset, the cow caretaker whom they have met before. She eventually develops a sense of responsibility to protect the cows when one day Sunset asks her to inherit the post of caretaker from him.

All Christians are blessed by the grace of God—and in some cases, their evils are sanctioned. Devoted churchgoers Grace and her mother live together. Out of Christian charity, they often take in teenagers without parental care. Their latest ward is Ching Yi, a young girl suffering from domestic violence. Brought into their home by Pastor Leung, Ching Yi is treated like a sibling by Grace, who enthusiastically shares her faith to the aloof house guest. Grace’s faith is shaken, however, when she accidentally discovers a secret between Ching Yi and Pastor Leung. When the church disguises vile and unspeakable deeds as the will of God, Grace decides to take matters into her own hands.

After her boyfriend Hao's untimely death, Yin is left to operate their studio by herself. The devastated Yin stumbles upon “Closer”, a mobile application that bridges the communication between the living and the dead. Through it, Yin is reunited with a lifelike Hao with not only the same voice but the same personality, emotions and memories. After a brief return to normalcy where the reality of death is obliterated, the limitation of “Closer” eventually forces Yin to confront the inherent divide between the living and the dead. Can love last forever by staying closer?

After a year in London, Jiu’s girlfriend vanishes, leaving a seaside recording, a plant named “White White”, and an empty room.

Flipping through pages of Hong Kong and London, the participating artists talk to each other in their mother tongue with implications perhaps only they will truly understand. Among the most familiar yet unfamiliar places—a bridge, a rooftop, a cafe and a station, as different as night and day, they reveal their hesitation or expectation, disappointment or comfort, sorrow or possibly even a change of heart as the first light seeps into the sky.