电影筛选故事发生在一间名为“鸟笼”的夜总会中，艾伯特（内森·连恩 Nathan Lane 饰）是其中的当家花旦，不仅如此，他和夜总会的老板阿曼德（罗宾·威廉姆斯 Robin Williams 饰）还是出双入对的同性情人。 某日，阿曼德同前妻所生的儿子瓦尔（丹·福特曼 Dan Futterman 饰）找到了老爸，喜滋滋的告诉他他即将带着未婚妻芭芭拉（卡莉斯塔·弗洛克哈特 Calista Flockhart 饰）前来造访。阿曼德在感到欣喜的同时亦十分紧张，因为芭芭拉的父母凯文（吉恩·哈克曼 Gene Hackman 饰）和路易斯（黛安娜·维斯特 Dianne Wiest 饰）是保守派人士，如果让他们知道了自己同艾伯特之间的关系，儿子的婚事可能就要岌岌可危了。于是，阿曼德开始劝说艾伯特，让他假扮成为一个正常人，表面上答应了阿曼德的请求，艾伯特的内心里却十分郁闷。
充满无限未知的疯狂多元宇宙即将展开，一切皆有可能。
（转自IMDB） Everything returns to normal after Chernobyl. That is, everything but art. Most of the great works are lost, and it is up to people like William Shakespear Junior the Fifth to restore the lost artwork of the human race. He finds strange goings-on at a resort enough to remind him of all the lines of the play, dealing with mob boss Don Learo and his daughter Cordelia, a strange professor named Jean Luc-Godard (sic), who repeatedly xeroxes his hand for no particular reason. He is followed by four humanoid goblins that keep tormenting Cordelia. There is also the gentleman whose girlfriend, Valerie, isn't always visible. Then the film is sent off to New York for Mr. Alien to edit.
Brooke (Bonnie Dennison) is devastated that she's pulled out of her high school so her family can move to a new town. Even worse, her stepmother is pregnant with a new addition to her dysfunctional family. All seems lost until she becomes smitten with a charming guy (Michael Welch). He's gorgeous, sweet, thrilling, everything her life isn't...until he reveals a menacing dark side.
On the morning of September 11, 2001, Paul McCartney was in New York City on an airport runway waiting to fly to Britain. As he absorbed the news of the unfolding tragedy, he wondered, “What can I do?” The answer, of course, lay in music. McCartney reached out to master documentarian and long-time friend Albert Maysles, inviting Maysles to document his personal experiences on 16mm black and white film, a format seldom used in the digital age but of proven endurance and artistic quality. Over several weeks in October 2001, Maysles’ camera followed McCartney as he prepared for The Concert for New York City, a benefit he helped organize to uplift New York City during this period of uncertainty and vulnerability. The footage went unseen for years, requiring the passage of time to be put in perspective. Now, ten years later, Maysles, his directing partner Bradley Kaplan and editor Ian Markiewicz have emerged with an intimate work that explores the role of art and artists in a time of crisis.
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