Present.Perfect.

Hong Kong as seen through a cab window. Inhabitants discuss their lives, problems and dreams as they are driven to their destination through the chaotic streets of Hong Kong.

A blissful night is unexpectedly interrupted by a sound from downstairs. Different reactions are triggered as well as the relentless indifference.

Thirteen dinners of a Chinese migrant worker's family over the course of fourteen months. The film portrays a series of random occurrences. Joys, frustrations and the struggle for survival. The meals unfold in real-time through thirteen static, long takes. Each take captures with vivid detail the reality of the relationships between the different family members. As the seasons unfold, so does time and the echoes for better working conditions penetrate the frame. Issues such as the one-child-policy and the possibilities for better wages weigh heavily on the minds of the three-generation family.

There are the images of before, the images of after and the letters. The images of after come first, they stem from the same surveillance camera in Wuhan, empty streets that only throng with people again on April 4th, 2020.

The hotel room as a place where everyone is a stranger. A place that is yours for just a moment. A temporarily intimate space entered by a maid in order to clean it while, if possible, not leaving a trace of her visit. Each episode of Stranger is set in such a place, and each is captured in one long take. Weaving together a series of episodic stories – some humorous and absurd, some poignant and mysterious – that all unfold within a seemingly confined space, Stranger explores the idea of home while being away from it, and sheds light on the distinctive yet universal experiences of isolation and loneliness.

Starting from a photography workshop for "immigrant children", the filmmaker focuses on Qin, in a harsh and unsettling portrait.