In The Swan Tool, video artist Miranda July combines video, performance, music and helium in a 'live film' about a woman who works for an insurance company. The story unites the earthly and bizarre with a surprising humour and unusual clarity. Lisa (played by July) cannot decide whether she wants to live or die. She digs a hole in her garden and buries herself. Then she tries to carry on with her life, but the thing she left behind in the garden just won't die and she can't forget it either. July finds herself literally in the film; she amalgamates with the medium when she stands between the two screens and, for instance, 'moves' a chair with her hand. The video images vary from photo-realism to abstract amorphous colour combinations. The live accompaniment by DJ Zac Love adds a third dimension to this complex story.

Single dad Richard meets Christine, a starving artist who moonlights as a cabbie. They awkwardly attempt to start a romance, but Richard’s divorce has left him emotionally damaged. Meanwhile, Richard’s sons—one a teenager, the other 6-years-old—take part in clumsy experiments with the opposite sex.

A young man turns from drug addiction and petty crime to a life redeemed by a discovery of compassion.

Through intimate interviews, provocative art, and rare, historical film and video footage, this feature documentary reveals how art addressing political consequences of discrimination and violence, the Feminist Art Revolution radically transformed the art and culture of our times.

When a couple decides to adopt a stray cat their perspective on life changes radically, literally altering the course of time and space and testing their faith in each other and themselves.

A document of the Riot Grrrl and Queercore scene in the 1990s.

A man with a clipboard asks passersby a survey question: "Are you the favorite person of anybody?" He has a scale, from "very certain" on down. His manner is open. He offers oranges to one respondent. He talks, one at a time, to three people. Their answers, however brief, are revealing.

A 12 year-old Olympic swimmer and her mother (both played by July) speak to the public about “going for the gold”.

A woman observes another woman on a surveillance camera and describes her actions, with no other interaction between them.

Four alternating stories about mundane, personal methods of control. Children and a developmentally disabled adult operate control panels made out of paper, lists, monsters and their own bodies.