Mario Borja, a craftsman and amateur historian, reconstructs a lost history of his people from the British Naval archives to a Pacific crossing. He brings his crew back to Guam in a hand built outrigger called a Sakman.

Yeshodhara, a vibrant woman who immigrated to the United States from India thirty years ago, has a lifelong love of professional sports that has served as a vehicle to create her own community and sense of belonging.

Alexander Graham Bell has just created his greatest invention: A small messenger robot named “Telly”. His only job is to deliver Alexander's note across town, but when every metallic object is attracted to the robot, it could mean failure for Telly's ultimate goal: to obtain approval from his creator.

A former ballerina sacrifices her passion in order to support her family, but upon finding an item left behind by a customer, she rediscovers the freedom she once felt and a connection to a person whom she’s never met.

Following his sudden death in 2005, Eddie Oshiro’s legacy is discovered inside his tiny studio apartment — a collection of decades' worth of photographs taken by Oshiro himself as he documented his Little Tokyo community in Los Angeles.

Everyone wants to get Sean a girlfriend — except Sean. When he tells his friends that he's calling his latest relationship quits, they are quick to advise against it, not realizing that Sean may have reasons beyond the superficial for his lack of commitment.

A young Filipina woman struggles through an identity crisis when her estranged husband announces his imminent return to the States. Torn between her traditional mindset and her self-reliance, she becomes resentful at her son, who may be the only logical piece in her fractured world.

A young man travels through time and is faced with the choice of changing the past for the better.

KEYE LUKE is a short film about Keye Luke, most known as the "Number One Son" in the Charlie Chan films and the original "Kato" in the 1940s Green Hornet, before Bruce Lee. In the film, Luke reflects on his contributions to 1930s-40s American Cinema, a period where authentic Asian American Actors (not white Actors in yellow-face) were practically non-existent, and where most of them — aside from a few of his compatriots that are also featured in the film — were cast as sinister villains or menial servants, but where he played leading roles as a "good guy" or a sidekick.