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Just north of London live Wendy, Andy, and their twenty-something twins, Natalie and Nicola. Wendy clerks in a shop, leads aerobics at a primary school, jokes like a vaudevillian, agrees to waitress at a friend's new restaurant and dotes on Andy, a cook who forever puts off home remodeling projects, and with a drunken friend, buys a broken down lunch wagon. Natalie, with short neat hair and a snappy, droll manner, is a plumber; she has a holiday planned in America, but little else. Last is Nicola, odd man out: a snarl, big glasses, cigarette, mussed hair, jittery fingers, bulimic, jobless, and unhappy. How they interact and play out family conflict and love is the film's subject.

This ultimate tribute to all independent filmmakers takes place during one day on the set of a non-budget movie.

While helicopters overhead spray against a Medfly infestation a group of Los Angeles lives intersect, some casually, some to more lasting effect. Whilst they go out to concerts and jazz clubs and even have their pools cleaned, they also lie, drink, and cheat. Death itself seems never to be far away, even on a fishing trip.

A married couple who have managed to remain blissfully happy into their autumn years, are surrounded over the course of the four seasons of one average year by friends, colleagues, and family who all seem to suffer some degree of unhappiness.

A self-styled New York hipster is paid a surprise visit by his younger cousin from Budapest. From initial hostility and indifference a small degree of affection grows between the two. Along with a friend, they eventually end up visiting their aunt in the wastelands of Cleveland and then proceed to Florida where they lose all their money gambling before unwittingly gaining a fortune.

London, 1969 - two 'resting' (unemployed and unemployable) actors, Withnail and Marwood, fed up with damp, cold, piles of washing-up, mad drug dealers and psychotic Irishmen, decide to leave their squalid Camden flat for an idyllic holiday in the countryside, courtesy of Withnail's uncle Monty's country cottage. But when they get there, it rains non-stop, there's no food, and their basic survival skills turn out to be somewhat limited. Matters are not helped by the arrival of Uncle Monty, who shows an uncomfortably keen interest in Marwood...

The stories of a diverse group of Londoners is presented, they thrown together out of circumstance. Couple Cyril and Shirley, a motorcycle courier and gardener respectively, live in a flat overlooking Kings Cross Station. They generally espouse Marxism and the rights of the workers, and while Cyril is arguably more philosophical about their political views, he also doesn't believe that an uprising of the working class will ever happen. While they deal with their more militant friend Suzi who Cyril calls out for what he sees as her hypocritical attitude, and with a stranger named Wayne who has just arrived in the city for a job while unable to connect with his sister with who he was supposed to stay, they have a disagreement of their own as Shirl contemplates having a baby, which Cyril believes is a bad idea in this world. They rarely associate with Cyril's sister Valerie and her used car lot dealer husband Martin. Nouveau riche, narcissistic Valerie is all about presenting herself as well-off, while she is totally neglected by brash Martin, who is a chronic philanderer. Cyril, Shirl and Valerie only need to speak to each other in their respective interactions with Cyril and Valerie's seventy year old mother, Mrs. Bender, who still lives on her own in a council house, but who is just starting to show signs of dementia. Cyril, Shirl, Valerie and Mrs. Bender eventually meet the latter's relatively new neighbors, wealthy, snobbish and somewhat garish husband and wife Rupert and Lætitia. While Rupert and Lætitia are openly perturbed by needing to help helpless Mrs. Bender, which is only exacerbated by meeting the other three, Valerie can only do her best to ingratiate herself with people wealthier than her.

A common friend's sudden death brings three men, married with children, to reconsider their lives and ultimately leave together. But mindless enthusiasm for regained freedom will be short-lived.

Two teenagers, both newcomers to London, forge an unlikely friendship over the course of a hot summer. Tomo is a runaway from Nottingham; Marek lives in the district of Somers Town, between King's Cross and Euston stations, where his dad is working on a new rail link. The boys are both infatuated with the same girl, and pass their days bickering over which of them loves her the most. Finding himself homeless, Tomo surreptitiously moves into Marek's bedroom - but it's only a matter of time before Marek's dad discovers what's going on...

A film poem inspired by the Peruvian poet César Vallejo. A story about our need for love, our confusion, greatness and smallness and, most of all, our vulnerability. It is a story with many characters, among them a father and his mistress, his youngest son and his girlfriend. It is a film about big lies, abandonment and the eternal longing for companionship and confirmation.

Penny's love for her partner, taxi driver Phil, has run dry. He is a gentle, philosophical guy, and she works on the checkout at a supermarket. Their daughter Rachel cleans in a home for elderly people, and their son Rory is unemployed and aggressive. The joy has gone out of Phil's and Penny's life, but when an unexpected tragedy occurs, they are brought together to rediscover their love. All or Nothing is set in a London working-class housing estate over a long weekend, and also tells the stories of a range of Phil and Penny's neighbors, some of whom become involved in the family's lives, and all of whom experience an emotional journey.

Career girls opens with a train journey towards London's Kings Cross where Annie, one of the major characters is about to meet her old university friend Hannah. She recalls moving into a grotty student flat with Hannah in the mid-eighties. In those days Annie was self conscious and jumpy. The pair have not seen one another since graduation. They both now have moderately successful careers and are, at least on the surface, self assured in their new lives. However, they are still carrying a lot of emotional baggage from their university days. During the course of a weekend they rediscover their close friendship and encounter many faces from the past.

A woman breaks up with her boyfriend, he thinks it's because he's fat. A man is unable to tell her next door neighbor he finds her sexually attractive. An old couple wants to split up, but they don't want to get a divorce. A therapist masturbates to teen magazines. An 11 year old kid is insecure about the fact that he hasn't cum yet. Office workers try to recall the face of a coworker who recently died. A woman is sure she has everything she could ever want. The lives of these individuals intertwine as they go about their lives in their own unique ways, engaging in acts society as a whole might find disturbing in a desperate search for human connection.

Poppy Cross is happy-go-lucky. At 30, she lives in Camden: cheeky, playful, frank while funny, and talkative to strangers. She's a conscientious and exuberant primary-school teacher, flatmates with Zoe, her long-time friend; she's close to one sister, and not so close to another. In this slice of life story, we watch her take driving lessons from Scott, a dour and tightly-wound instructor, take classes in flamenco dance from a fiery Spaniard, encounter a tramp in the night, and sort out a student's aggressive behavior with a social worker's help. Along the way, we wonder if her open attitude puts her at risk of misunderstanding or worse. What is the root of happiness?

Tired of her husband's philandering ways, the mother of two daughters drowns her husband. With the reluctant help of the local coroner, the murder is covered up. Her daughters are having similar problems with relationships, and tend to follow their mother's example, and the coroner becomes reluctantly involved in their murders as well. As the plot progresses, visual and spoken numbers appear in the scenes, counting from one to one hundred.

Two junior executives on a six-week business trip, both of whom have been recently hurt by women, devise a horrible plan to get even with women for their past hurts: They intend to find, romance, and then dump a vulnerable woman. They choose Christine, and for a while all goes according to plan. However, it soon becomes clear that things are not as simple as they think.

Cynthia lives in London with her sullen street-sweeper daughter. Her brother has been successful with his photographer's business and now lives nearby in a more upmarket house. But Cynthia hasn't even been invited round there after a year. So, all round, she feels rather lonely and isolated. Meanwhile, in another part of town, Hortense, adopted at birth but now grown up, starts to try and trace her mother.

Moments from the uncompromisingly bleak existence of a secretary, her intellectually disabled sister, aloof and uneasy teacher boyfriend, bizarre neighbor and irritating workmate.