2017年に初演された同名舞台を映画化した本作。親友を亡くした引っ込み思案の女子高生・穴森一穂が1通の手紙を受け取り、謎の転校生が待つ夜の校舎へと向かうさまが描かれる。

2017年に初演された同名舞台を映画化した本作。親友を亡くした引っ込み思案の女子高生・穴森一穂が1通の手紙を受け取り、謎の転校生が待つ夜の校舎へと向かうさまが描かれる。

佑，12年前就爱上了前辈的女友维子，并且发生了关系。之后，前辈因事故死去。从此佑和维子背负着沉重的罪恶感各自过着自己的生活。12年后，佑回乡。佑听母亲说，唯子即将嫁为人妻。未婚夫是一直照料唯子的精神病医生。再次相遇的两人，又再次相互深深吸引。可此时，佑得知自己只有3个月的余命……

佑，12年前就爱上了前辈的女友维子，并且发生了关系。之后，前辈因事故死去。从此佑和维子背负着沉重的罪恶感各自过着自己的生活。12年后，佑回乡。佑听母亲说，唯子即将嫁为人妻。未婚夫是一直照料唯子的精神病医生。再次相遇的两人，又再次相互深深吸引。可此时，佑得知自己只有3个月的余命……

故事 　　由于我的丈夫（朴真）正在死亡事故，民警走访他家去邀请他的妻子到医院检查。出现夫人来此检查相匹配的时候，我因为身体检查我的笔记她的丈夫死了，如果从13个月朴真夜hagekkeum的没有睡觉的丈夫的灵魂朴真目的地的妻子来，每天晚上回家是夜。然而，他的13个月的妻子迷人的夜晚，然后每gatneunde具有朴真性死去的丈夫。妻子高兴地履行了不公平的不要睡觉。但他的妻子是不是恳求形式请回去睡觉，只有滑冰丈夫的遗像。然而，灵魂进入人的朴振子的灵魂美化意外，因为有朴真会构成一个良好的生活，如果他的妻子5月13日的晚上。

故事 　　由于我的丈夫（朴真）正在死亡事故，民警走访他家去邀请他的妻子到医院检查。出现夫人来此检查相匹配的时候，我因为身体检查我的笔记她的丈夫死了，如果从13个月朴真夜hagekkeum的没有睡觉的丈夫的灵魂朴真目的地的妻子来，每天晚上回家是夜。然而，他的13个月的妻子迷人的夜晚，然后每gatneunde具有朴真性死去的丈夫。妻子高兴地履行了不公平的不要睡觉。但他的妻子是不是恳求形式请回去睡觉，只有滑冰丈夫的遗像。然而，灵魂进入人的朴振子的灵魂美化意外，因为有朴真会构成一个良好的生活，如果他的妻子5月13日的晚上。

SYNOPSIS 　　Managing director of Samjin Group, Hyung-oh is not worried about his wife finding out about relations between him and his secretary Myung-hwa. He credits his wife's personality as the basis of his lack of concern. His wife Hae-kyung does indeed suspect them and she tries to talk Myung-hwa into backing off. Myung-hwa leaves Hyung-oh and marries Sung-ki who runs a ranch on Jeju Island. But she finds out that she is pregnant with Hyung-oh's child and they promise to reunite a year later. Sung-ki tries to convince her to stay by attempting suicide but her mind is made up. Myung-hwa returns to Seoul to reunite with Hyung-oh, but this time Hae-kyung is not about to back down without a fight. 　　故事 　　集团管理横杠来不知疲倦关系书记绘画和通奸，不关心，认为自然也没什么大不了的cover.What妻子。Hyegyeong不是猜测，两人的关系达到另一次访问的杰作。这些画被分离并hyeongoh结婚，阴部济州岛一个牧场。但怀孕hyeongoh绘画的孩子还会再见面爬形状，两个人都承诺一年后重逢。同时，让我们自杀企图抓住阴茎的心是不是真正的绝世名画决定离婚。绘画是抱着充气梦想来到首尔只是在等待老团聚，不允许在在改变形式，两个人的前部hyeongoh hyegyeong。

SYNOPSIS 　　Managing director of Samjin Group, Hyung-oh is not worried about his wife finding out about relations between him and his secretary Myung-hwa. He credits his wife's personality as the basis of his lack of concern. His wife Hae-kyung does indeed suspect them and she tries to talk Myung-hwa into backing off. Myung-hwa leaves Hyung-oh and marries Sung-ki who runs a ranch on Jeju Island. But she finds out that she is pregnant with Hyung-oh's child and they promise to reunite a year later. Sung-ki tries to convince her to stay by attempting suicide but her mind is made up. Myung-hwa returns to Seoul to reunite with Hyung-oh, but this time Hae-kyung is not about to back down without a fight. 　　故事 　　集团管理横杠来不知疲倦关系书记绘画和通奸，不关心，认为自然也没什么大不了的cover.What妻子。Hyegyeong不是猜测，两人的关系达到另一次访问的杰作。这些画被分离并hyeongoh结婚，阴部济州岛一个牧场。但怀孕hyeongoh绘画的孩子还会再见面爬形状，两个人都承诺一年后重逢。同时，让我们自杀企图抓住阴茎的心是不是真正的绝世名画决定离婚。绘画是抱着充气梦想来到首尔只是在等待老团聚，不允许在在改变形式，两个人的前部hyeongoh hyegyeong。

After 23 years on Death Row, a convicted murderer petitions the court for his execution. As he tells his story directly to camera, you gradually realise that nothing is quite as clear-cut as it at first seemed. The Fear of 13 is a stylistically daring experiment in storytelling – in effect a one-man play. Part monologue, part confessional and part performance, the film is illustrated with hyper-stylised imagery contextualising a narrative as compelling as any crime drama and features a final, shocking twist that casts his life in a new light. The protagonist carries the film with his charisma and literary turn of phrase recounting his experiences on the wrong side of the law, but David Sington’s film is more than an account of one man’s incarceration; it is both a damning indictment of the US penal system and an emotional meditation on the redemptive power of love and literature.

After 23 years on Death Row, a convicted murderer petitions the court for his execution. As he tells his story directly to camera, you gradually realise that nothing is quite as clear-cut as it at first seemed. The Fear of 13 is a stylistically daring experiment in storytelling – in effect a one-man play. Part monologue, part confessional and part performance, the film is illustrated with hyper-stylised imagery contextualising a narrative as compelling as any crime drama and features a final, shocking twist that casts his life in a new light. The protagonist carries the film with his charisma and literary turn of phrase recounting his experiences on the wrong side of the law, but David Sington’s film is more than an account of one man’s incarceration; it is both a damning indictment of the US penal system and an emotional meditation on the redemptive power of love and literature.