
F.A.T.

Ibu (voice)
Pak Guru
A.I. (voice)
Student #1
Student #2
Student #3
Cheng Chung-bo and his family become the target of attack and abduction orchestrated by a crime syndicate coveting the treasure map in his possession. His youngest son Fai is hauled to safety by the space station scientist and gains great power as the Moonlight Spaceman under his tutelage. Fai returns after six years with the mission to crack down on the ring. Flying Heroine Ma Chau-wan is sent as his backup by the understandably worried scientist. The spaceman approaches neighbour Ho Kei-ming's daughter Yuk-wah in order to probe into the father's dealings with the crime ring. Ma, meanwhile, charms her way into Detective Wong's investigation squad. Fai and the detective make a narrow escape from death but are dealt another setback, with Fai's mother and Yuk-wah abducted. (Continued in 'The Female King Kong')
The crime syndicate demands that Cheng Chung-bo lead the way to the treasure trove, holding his family hostage. Booby-trapped, Cheng Fai disengages the device and flees to join Flying Heroine Ma Chau-wan and Detective Wong. Meanwhile, the ingenious scientist Dr Ng is enlisted by the ringleader Ho Kei-ming to match wits and brawn with Fai and Ma. Ma slyly earns the trust of a bewitched Ng, claiming to be Fai's biggest foe. Ng ushers Ma into the headquarters where he meets his doom. With his patience running out, Ho grasps an apprehended Chung-bo on a treasure hunt while the pursuers are diverted from their course. Ma recognises her long-lost father from among the gangsters and brings him to his senses with words of absolution. The father pledges his alliance to the duo in crushing the gang and saving Chung-bo and wife.

The Kurdish Iraqi poet and actor Zeravan Khalil travels with his dog through an Alpine gorge after fleeing from IS war and genocide. As he remembers the abomination, he writes a poem with the title “You drive me mad” in Kurmanji Kurdish. In his home country, Yazidic Kurds are forbidden to work in his profession. Then he eats his apple and wanders through Europe’s middle with more hope.

Tantra and Tantri are inseparable. When they secretly steal eggs from the family’s sacrificial offering, Tantri always gets the whites and Tantra the yolks. One day, however, the yolk is missing, as is Tantra. Her brother gravely ill and in hospital, Tantri starts slipping into magical parallel worlds, approaching the inevitable farewell through costumes, body paint and dance. When at one point Tantri’s mother washes the paint from her face, it is as if tenderly to expel the illusion that things can remain as they are. In long dream sequences and against the background of the Balinese philosophy of sekala – the seen – and niskala – the unseen – Andini relates how one ten-year-old girl deals with parting and grief.

Set during the final ten minutes before an eighteenth birthday, the film follows a young protagonist on the threshold between childhood and adulthood. Through poetic monologues and symbolic ritual, it explores the fear, loss, and quiet transformation that accompany coming of age. Blending introspection with elements of symbolic horror, the film treats growing up not as a celebration, but as a rite of passage, culminating in a final return to childhood memory as midnight arrives.