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故事发生在地处偏远，风景秀丽的青翠村，这里民风淳朴，村民们宛如一家人，其乐融融。然而，某日，一张铁丝网从天而降将村子一分为二，使得原本的亲朋和好友再也不能够相见，这令彼此之间有着深厚情谊的村民们感到十分痛苦。一晃眼三十年过去，村子分裂的状况没有得到任何改善。孔英坦是村里新来的老师，起初，这里友好的氛围令他放下了戒备，然而，随着时间的推移，孔英坦发现整个村庄里弥漫着一种诡异的气氛，直觉告诉他，这里一定有什么不好的事情正在发生。某日，四处转悠的孔英坦于无意之中发现了一个地洞，他的发现让整个村子都陷入了危机之中，在这个地洞里究竟隐藏了怎样的秘密呢？

医学院学生杰弗里沉迷于研究一些稀奇古怪的实验，在一次生日聚会上，杰弗里的未婚妻谢莉失误操作他发明的割草机不幸被割的得血肉横飞成了一堆人肉沙拉，杰弗里痛苦欲绝，决心通过实验将尸体残骸重新拼接让其复活...

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.)

一位中年电影导演和他多年未见的女儿一起，参观了一栋由室内设计师拥有的建筑。他们来是因为女儿也希望学习室内设计。设计师拥有这栋四层楼的无电梯建筑，她带他们逐层参观她所做的装修。他们三个人进入每一层的房间张望。影片以这种方式开始后，我们又重新从底层开始，一层一层地往上爬。