A terrible virus finally brings down the internet, and humans look out from the wreckage in the aftermath. Five weigh in with personal recollections: pensive, disbelieving, grieving, philosophical. We used to have movie stars and famous musicians. Now we had each other.
In a number of interlocking episodes, five women weigh in on growing up in capitalism. Poetries of survival are interwoven with an adaptation of Mary Oliver’s iconic poem Wild Geese.
The ghost of "patient zero", who allegedly first brought AIDS to North America - materialises and tries to contact old friends. Meanwhile, the Victorian explorer Sir Richard Burton, who drank from the Fountain of Youth and now works as Chief Taxidermist at the Toronto Natural history Museum, is trying to organise an exhibition about the disease for the museum's "Hall of Contagion".
The two central characters are breaking up. Moira flees to Paris; Stan goes up north with gay writer friend, Timothy. Moira returns and joins Stan and Timothy up north to sort things out. Roberta, Stan's old friend also arrives. The next 24 hours reveal the assortment of tensions, expectations, humour and discontents of four people experiencing the difficult transition to middle age. The four characters return to Toronto to resume their separate lives.
A satirical look at gender roles, mixing performance art segments by Sheila Costick and Helen Porter with musical comedy interludes performed by The Clichettes.
No Voice Over is a story of communication and affection, focusing on the close ties between three women artists as they correspond via audio and video tape as they travel to Italy, Brazil, and Texas. All three have an off screen working relationship with a producer called Dix-Ten. The tape details a series of visions or second-sight experiences that one woman has about the other. These events are disturbing and seem to contain some ominous portent, which remains unclear until the end of the tape, when it is revealed that the visions are in fact premonitions of one of the woman's death.
