Openly gay banker Daniel debates whether to return to Australia or stay in Hong Kong when he meets Kafka, a straight swimming instructor. The young men fall in love, believing that their love can bridge anything, despite their difference in sexuality and Kafka's increasing drug use. Daniel does not regret his love for Kafka, who tries to love him back against his nature. But a flashback memory from Kafka's past makes it difficult for their relationship to work.

In China, homosexuality isn't illegal, but homosexuals are routinely persecuted by police and arrested for "hooliganism". The film focuses on a young gay writer A-Lan who, being attracted to a young policeman, manages to have himself interrogated for a whole night. His life-story which he tells during the interrogation reflects the general repression of the Chinese society. The policeman's attitude shifts from the initial revulsion to fascination and, finally, to attraction.

"Farewell, My Concubine" is a movie with two parallel, intertwined stories. It is the story of two performers in the Beijing Opera, stage brothers, and the woman who comes between them. At the same time, it attempts to do no less than squeeze the entire political history of China in the twentieth century into a three-hour time-frame.

Fei works illegally as a hustler in order to support his family, yet when he realizes they are willing to accept his money but not his way of life, there is a major breakdown in their relations. Through his relationship to the headstrong Long, Fei seems able to find a new lease on life, but then he encounters Xiaolai, the love of his youth, who confronts him with the guilt of his repressed past.

They live in an old house on the fringe of Taipei City: Rat and his elder gay brother Shanghe. Two brothers look for jobs to survive while search for themselves and long for a foothold in life. The younger works at market where he meets a mute woman who gets up to all sorts of craziness. The elder is attracted to a nightclub dancer and finds himself drawn into shifty business. With the rhythm of their wanderings, the film observes its protagonists: lives in limbo, without fixed coordinates, and evolves into panorama of a society that does not appear to welcome its next generation.

Forest fires burn in Sumatra; a smoke covers Kuala Lumpur. Grifters beat an immigrant day laborer and leave him on the streets. Rawang, a young man, finds him, carries him home, cares for him, and sleeps next to him. In a loft above lives a waitress. She sometimes provides care and attention. More violence seems a constant possibility. They find another man abandoned on the street, paralyzed. They carry him. While no one speaks to each other, sounds dominate: coughing, cooking, coupling, opening bags; music and news reports on a radio, the rattle and buzz of a restaurant. It's dark in the city at night. We see down hallways, through doors, down alleys. Who sleeps with whom?

Yiu-Fai and Po-Wing arrive in Argentina from Hong Kong and take to the road for a holiday. Something is wrong and their relationship goes adrift. A disillusioned Yiu-Fai starts working at a tango bar to save up for his trip home. When a beaten and bruised Po-Wing reappears, Yiu-Fai is empathetic but is unable to enter a more intimate relationship. After all, Po-Wing is not ready to settle down. Yiu-Fai now works in a Chinese restaurant and meets the youthful Chang from Taiwan. Yiu-Fai's life takes on a new spin, while Po-Wing's life shatters continually in contrast.

Simon and Wei-Tung are a gay couple living together in Manhattan. To defer the suspicions of Wei-Tung's parents, Simon suggests a marriage of convenience between Wei-Tung and Wei-Wei, an immigrant in need of a green card. When Wei-Tung's parents come to America for the wedding, they insist upon an elaborate banquet, resulting in several complications.

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