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Ono’s work related destruction to interpersonal, often intimate, human relations. This element was particularly thought-provoking in ‹Cut Piece›, one of many actions she did as DIAS [Destruction in Art Symposium]. Ono had first done the performance in 1964, in Japan, and again at Carnegie Hall, in New York, in 1965. Ono sat motionless on the stage after inviting the audience to come up and cut away her clothing, covering her breasts at the moemnt of unbosoming. ‹Cut Piece› entailed a disrobing, a denouement of the reciprocity between exhibitionism and scopic desires, between victim and assailant, between sadist and masochist: and, as a heterosexual herselft, Ono unveiled the gendered relationship of male and female subjects as objects for each other.(source: Kristine Stiles,«Uncorrupted Joy: International Art Actions,» in: Out of Actions: between performance and the object, 1949–1979, Paul Schimmel (ed.), MoCA Los Angeles, New York/London, 1998, p. 278.)

影片讲述一个华人家庭的奶奶被诊断罹癌，但家人选择隐瞒奶奶，假借一场婚礼的名义让所有家人回家见奶奶最后一面，但在纽约长大的碧莉（奥卡菲娜饰演）认为知道自己病况是奶奶的人权，因此在华人家庭中上演一场中西文化冲突，一部寻根家庭喜剧。故事改编自华裔女导演王子逸自己的家庭故事，她也因本片被《综艺》杂志评选2019年必关注导演之一。

“其实，我是个骗子。”美丽的女大学生杀了自己的父亲，动机不明。“她为什么一定要对父亲痛下杀手呢？”一个内心同样受到过创伤的注册心理咨询师真壁由纪慢慢走进女孩的内心，发掘出令人震惊的事实真相。那真相中隐藏着虚构的过去，回荡着被珍爱之人侵蚀灵魂的绝望惨叫声。

台灣新銳導演顏皓軒首部短片作品《送行》找來新銳演員李悠與胡智強，飾演一對喪母的姐弟，莊嚴葬禮上的各種繁瑣雜事，卻因習俗儀式讓一切變得荒謬。影片將日常生活的荒謬轉化為獨特的幽默感，細膩地將思念放入生活，讓悲傷舉重若輕。