A girl wakes up and finds herself at a strangely familiar mall. As she explores the shops and picks up fragments of memories, she notices a strange presence following her through the halls...

Oops! imagines three different stories of conflict within contemporary Australia. It considers the power relations between class, race and gender that are played out in household settings and experiments with the interrupting techniques of montage as well as Benjamin’s intruding stranger.

Martha and Alex are on the road. They drive an antique red car through a somewhat less magnificent landscape stretching between Lower Austria and the Czech Republic. Their relationship oscillates between carnal moments in nature and petty quarrels while driving. They don’t seem to have a destination. At a drive-in McDonald’s they ludicrously overorder, the munching progressing into a funny kissing scene. A minor roadkill provides all the suspense in Thomas Marschall’s ORDINARY CREATURES. Martha and Alex are now being followed. Yet the pace of the movie remains the same: a borderline surreal movement ostensibly just for its own sake.

"Parenthesis", a short impressionistic poem, liberates the inserted thought from its master. The film's mirrored beginning and ending render the inserted material, not as an explanation or afterthought but rather as the dominant point where the natural and civilized worlds claim their separate space before colliding, as the continual breathing of the sea becomes increasingly intense and urgent. Whatever may be going on in the outside world is kept at bay by the visual parentheses.

Park your car under the stars and spend your evening at Pleasant Valley Drive In to watch “Summer Awakenings.” This coming-of-age film is radically altered when a projectionist-cum-cinematic saboteur splices in some not-so-subtle subtext via drive in movie advertisements.

A troubled young woman with a disturbing past goes to see a counselor about her night terrors.