A celebration of girlhood and the complexities that come with it, Cookie Queens is a coming-of-age story about the joys, pressures, and tensions woven into one of America’s most cherished rituals: Girl Scout Cookie season.

《我们剩下的未完成》的是1978年至1992年期间拍摄的五部从未完成的电影，这些电影都是在阿富汗执政的各种共产主义政权的背景下拍摄的。这些电影中的场景，其中一些后来在其他作品中重复使用，由参与制作的电影制作人和演员将它们的位置和评论与当前的影片一起编辑，使我们能够深入到动作片和围绕当地历史和冲突的浪漫剧中。通过与电影制片人的交谈，玛丽安·加尼重塑了他们在面对审查和危险时如何追求对电影的热情。即使不可能拍出对政府有批评意义的电影，导演们也开发了一些方法，使他们能够继续实现自己的项目。因此，一幅矛盾的国家愿景出现了，介于政治委托作品和反映现实的愿望之间。这样，阿富汗电影的全景被打开，现实和小说、历史事实和民族神话、艺术实验和宣传都交织在一起。
What We Left Unfinished is about five never completed films made between 1978 and 1992 before the backdrop of the various communist regimes that came to power in Afghanistan. Scenes from these films, some of which later reused in other works, are edited together with current footage of their locations and commentaries by the filmmakers and actors involved in the productions, allowing us to dive into action films and romantic dramas that revolve around local histories and conflicts. By talking to the filmmakers, Mariam Ghani reconstructs how they pursued their passion for film in the face of censorship and danger. Even if it was not possible to make films critical of the regime, the directors developed methods that enabled them to continue realising their projects. A contradictory picture of the visions of the state thus emerges, lying somewhere between politically commissioned works and the aspiration to reflect reality. In this way, a panorama of Afghan cinema is opened up in which reality and fiction, historical facts and national myths, artistic experimentation and propaganda all become interwoven.

In this raw, sexually graphic and unsettling odyssey, a lost, lonely Londoner, her marriage over, flies to Los Angeles, where she holes up in a seedy motel and searches for the father who abandoned her when she was an infant.

Jennifer, a Harvard PhD student, was signing a check at a restaurant when she found she could not write her own name. Months before her wedding, she became progressively more ill, losing the ability even to sit in a wheelchair. When doctors insisted that her condition was psychosomatic, she picked up her camera to document her own story and the stories of four other patients struggling with the world's most prevalent orphan disease.