Baizak, who came from the village, periodically visits of his fellow villager Meerim, whom he was loving. Due to the fact that Meerim is engaged in prostitution, their meetings do not go as planned. One day Meerim disappears. Baizak doesn't give up hope and keeps looking. But unexpected news from the police changes everything.

Oscar's late. In the surrounding skyscrapers hands are shaken and contracts are signed. That's the last thing he needs right now. Where do these damned snails come from?

Khadiga, a young mother of 18 lives alone with her baby after her husband left for work in a remote city; in an ordinary day she makes her way through the hustle of Cairo streets to do some visits where she feels uncomfortable with the surroundings.

That spring, there was in the sky of H-ville. What is _____? No one can tell. The sudden “unknown” caused absurd and strange phenomena. The real nightmare was not the natural disaster, but the man-made one. The regime used this to implement the "state of exception". The system continued to operate. How much human value would be left? As Giorgio Agamben stated at the beginning of the pandemic, “The epidemic has caused to appear with clarity is that the state of exception, to which governments have habituated us for some time, has truly become the normal condition.”
The idea started in early 2020, at the beginning of the pandemic. But a lot of revisions were made due to the situation and my own life change.
The film is set in a sci-fi background. Rough special effects, that I am not good at, are used to create a not-too-distant future. All the dystopian elements in films and literatures are happening all around us nowadays. The so-called "future" is actually the present. Thus, could this film be considered as a critical documentary? The film starts as sci-fi, but finally an essay film.
The image of "H-ville" in the story is based on Hong Kong, but changes were made. First, it is because the phenomenon I criticize is not only in Hong Kong, but also in other places under capitalism and globalization. Secondly, Hong Kong is changing rapidly. Even the HongKongers feel unfamiliar (“jamais vu”?) and sometimes find it hard to recognize.

On the day of the Egúngún festival, Salewa returns to Lagos to bury her mother. At the funeral, she encounters an acquaintance who forces her to confront old wounds. Egungun is a meditation on memory, identity and duty, on the many versions of ourselves that haunt and heal us.