An omnium-gatherum of film, poem, and song excerpts contextually juxtaposed in an attempt to explore masculinity, alienation, and identity in a post-industrial society.

A self-styled "urban guerrilla" in Greenwich Village is sent on various assignments across the country by a mysterious "commander."

A screenwriter does research for his new script by actually kidnapping and drowning young girls. He then places them in his "garden" of other dead girls coming back daily to check on them. One girl narrowly escapes and the other bodies are found leading to an ingenious plot to try and capture the killer.

A young Black man, raised in a White neighborhood, ridiculed for not being "Black enough" decides to go to the hood to hang out with his gangster cousin and discover what it really means to be "Black." He eventually faces the harsh reality of gang violence, drugs and police confrontation.

Three people become connected through mysterious circumstances involving electronic devices which spontaneously appeared in their world.

At the beginning of the twenty-first century, abstraction - that most quintessentially modernist innovation - maintains a peculiarly contradictory position. Used, on one hand, by post-modernist artists as just one more quotable style amongst many, it is on the other hand still considered an elitist or hermetic language by audiences intimidated by its lack of recognizable subject matter. Yet ultimately, abstraction continues to be a viable creative path for contemporary artists of all generations, many of whom embrace it as the most inclusive and fundamentally resonant of artistic languages. Filmed at the artists' studios, the Dia Center for the Arts, and the Guggenheim Museum during their exhibition, "Abstraction in the Twentieth Century."

A quasi-sequel to Michel Houellebecq's novel The Possibility of an Island, Masbedo's short presents a post-apocalyptic landscape overseen by a distant mother nature or perhaps mother of nature portrayed by French icon Juliette Binoche.