Molly is a young Asian woman trying to figure out where her father’s body is after his sudden death by suicide. Due to a challenging relationship with her mother, the location is being withheld from her.

While at her friend Elli’s house, Molly gets a call from her aunt telling her where she can find her father. The two friends jump into Elli’s car and race to get Molly to the funeral home so that Molly can see him. During the car ride Molly get’s an unsettling series of texts from her mother. After Elli proposes she can choose not to go, Molly makes the choice to defy her mother and see him.

The pair end up at a funeral home. Upon meeting the funeral director, he tells Molly she can see her father one last time before he’s cremated the next day. Molly makes one small request and then, after the funeral director prepares the body, she goes to see him, finally confronted with the reality of her father’s death.

After leaving the viewing room, Molly thanks the funeral director for his help and tries to introduce him to Elli, only to collapse to the floor, crying. The surreal enormity of seeing her father for the last time finally subsuming her, she lets the grief take her as Elli looks on, unsure of how to comfort her. Once the moment passes, Molly makes an absurd joke that forces Elli and her to laugh, providing them both a release and a way forward for Molly.

Floor is a story based in Baltimore, Maryland, USA.

A young woman visits the grave of her mother. As she fights through tough memories from her childhood, she faces the past and learns to cope with her grief-- finding forgiveness along the way.

Akin to a visual journal entry, Things Long Left Unsaid is a short personal documentary about the sudden loss of the filmmaker's father and her coming to terms with all of the things the two never talked about, including the difficulty of existing as a Black family in her predominantly white suburban hometown.

By juxtaposing her family's archival home videos with present day black and white footage, Antonia Thornton takes audiences through an authentic journey of grief and acceptance.

In a quiet suburban neighborhood, MAGGI, an elderly widow, grapples with the profound loneliness that consumes her following the recent loss of her beloved husband. Haunted by memories of happier times, Maggi retreats into the solitude of her home, finding solace in the familiar routines of her daily life.
However, her sanctuary is shattered when a group of mischievous neighborhood children begin tormenting her, breaking into her house and labeling it as a haunted house to scare each other. Despite Maggi's attempts to confront them and plead for peace, the children continue their relentless harassment, fueling her sense of isolation and despair, but she finds unexpected solace and guidance.

How do we cope with trauma and abandonment? Church? therapy? or...alcohol?

Isley (Daniella Ochman) and Dr. Rein (Ashley-Lauren Elrod) are on a mission to achieve atonement for Isley, but she is having a hard time doing so due to her alcoholism, mental illness, and traumatic experiences.

Tasha is suffering from internal conflicts because of the stereotypes that society places on her, making her want to change the way she looks. Through several flashbacks Tasha is reminded of moments where her facial expressions were made fun of. To fix this Tasha decides to seek facial reconstruction surgery to alter her appearance to society's standards: A Constantly Happy Black Girl.

In the immediate aftermath of a billionaire's unexpected passing, his children and employees fail miserably to organize a funeral. "The Funeral" is the first episodic short in a series where we follow a group of dysfunctional 20-to-30-somethings as they navigate the so called "Dark Ages" spanning between "Coming of Age" and "Middle Age."

Diane, an aspiring actress looking for work, finds herself in the office of psychiatrist Dr. Hiller. As part of a ground-breaking if controversial study, Dr. Hiller hires Diane to role play as the deceased partner of one of his clients. Desperate for work, Diane accepts the job and finds herself in a position where she must act out a scenario in which to bring emotional closure to someone else's pain. However, when Diane realizes the selfishness of her assigned client, she is thrust into a dilemma of continuing her usual behavior of people-pleasing or to finally stand up for herself.

To meet a friend, Suat goes to a cafe in a neighborhood where he hasn't spent much time before. He sits down and, finding that his friend hasn't arrived yet, he orders tea from the waiter and starts browsing the internet on his phone. While he's waiting for his tea, he notices the waiters asking the people sitting at the front of the cafe to stand up. They remove the tables and create an empty space. In this newly created space, a table-like structure with a nice cover and a flower on it catches his attention. At that moment, the waiter lifts the flower and pulls off the cover, revealing a musalla stone underneath.

Shortly after, a hearse arrives and a coffin is taken out and placed on the musalla stone. Suat watches in amazement. Some of the people in the cafe are astonished, witnessing this event for the first time, while others continue their conversations on the sidelines without hesitation, clearly used to such occurrences. Meanwhile, the music playing in the cafe is turned off, and the congregation stands in rows for the funeral prayer. The imam performs the rituals, the prayer is said, the rights are given, and the corpse is hurriedly removed and loaded back onto the hearse.

As Suat watches in amazement, he raises his head and sees a minaret. He realizes that the cafe he is sitting in is actually located in the courtyard of a mosque. The waiters quickly move the tables back to the empty space, the musalla stone is camouflaged again, the music turns on, people sit back in their seats, and life goes on.