调皮捣蛋的小僵尸乃僵尸家族的宠儿，某夜突然失去踪影，家族成员四处寻找。僵尸小爷途中遇一青年阿贵，阿鬼明知他非人类，欲将他送回家。有一茅山道人，专门利用夜间偷刚死的尸体，炼成僵尸，为非作歹，无意中得知阿鬼有一僵尸仔，乃千方百计欲夺取....

鲛奴被逐出龙宫，巧遇书生景云瑞.瑞邀奴结伴还乡，并对她渐生爱慕，惟仙凡有别，奴不肯接纳婚聘，瑞抑郁成病。奴偶遇与她容貎酷似的陶万珠，欲设法玉成珠、瑞。后奴获龙王宽恕，赦免放逐，遂向瑞许诺若他肯娶珠，一年后必再相见。一年过去，伊人未见，瑞方知道这是哄骗他迎娶珠的方法，终发疯投奔大海，与奴相见。

一雙紅色高跟鞋，一件在男友車上的紅色胸罩，像是兩個女子的對話，又像是女主角小樂的內心獨白。小樂說了一個關於她跟高跟鞋的故事，而我們永遠不知道這故事是不是真的。自言自語式的呢喃，訪談與劇情交織的表現手法，塑造出一個虛實交錯的魔幻世界。

Semiotics of the Kitchen adopts the form of a parodic cooking demonstration in which, Rosler states, "An anti-Julia Child replaces the domesticated 'meaning' of tools with a lexicon of rage and frustration." In this performance-based work, a static camera is focused on a woman in a kitchen. On a counter before her are a variety of utensils, each of which she picks up, names and proceeds to demonstrate, but with gestures that depart from the normal uses of the tool. In an ironic grammatology of sound and gesture, the woman and her implements enter and transgress the familiar system of everyday kitchen meanings — the securely understood signs of domestic industry and food production erupt into anger and violence. In this alphabet of kitchen implements, states Rosler, "when the woman speaks, she names her own oppression."