There is an old love hotel in Tokyo's Shinjuku district where couples can rent a room by the hour for romantic assignations. However, few of its regular customers seem to come there for sexual encounters; the hotel has become a hangout for rootless teenagers, senior citizens looking for a place to relax, and kids that play under the watchful eye of its owner...

Real Housewives stars Shannon Beador, Gizelle Bryant, Ashley Darby, and Luann de Lesseps visit Los Cabos' Grand Velas Hotel to find love among eligible bachelors.

This erotically charged drama traces the intersecting stories of a group of employees and visitors at a notorious "love hotel" in Tokyo's red-light district.

Real Housewives stars Shannon Beador, Gizelle Bryant, Ashley Darby, and Luann de Lesseps visit Los Cabos' Grand Velas Hotel to find love among eligible bachelors.

Most of the film takes place in a hotel owned by Clara, where the teacher or spiritual guide, Nicolai, gathers groups of people and through talks and examples, shows each one the path to follow.

Asyl is one of Kren's most formally ambitious works, an experiment in time lapse photography, multiple exposures, and segmented images. When he moved to a home in the country, Kren set up a static camera nearby, and over the course of 21 non-consecutive days, he fed the same strip of film stock through the camera once per day. In front of the lens, Kren also placed a masking board with holes in it, the placement of which was varied daily so that each time the film stock went through the camera, different areas of the image were exposed. The result is a film in which, within a single frame, time and space are made to overlap and coexist in unusual ways, creating impossible landscapes composed from footage shot on different days throughout the year. Sometimes, most of the film is exposed and the image becomes a collaged landscape, in which a snowbank runs directly into a grassy springtime meadow, or in which rain falls through the top half of the frame only to disappear when in reaches the bright sunshine of the lower half. At other times, the image is more pointillist, with distinct areas floating in the black frame like pieces of a puzzle that needs to be assembled. 　　The seasons run seamlessly into each other in this way, and time becomes hazy. Occasionally, a person will walk along the road in one part of the image, disappearing at an invisible border where the image fades into a different day, a different time. Kren is here reconfiguring film as a medium in which time and space cease to be linear in any sense. The film is instead about totalities; it invites the viewer to think about the progress of time and the way it generally works in cinematic images, and by contrast to process the multiple layered times implicit in each frame of Asyl. This short is Kren's finest work, with a conceptual purity and inventiveness that are unmatched even in his consistently intriguing oeuvre.

Asyl is one of Kren's most formally ambitious works, an experiment in time lapse photography, multiple exposures, and segmented images. When he moved to a home in the country, Kren set up a static camera nearby, and over the course of 21 non-consecutive days, he fed the same strip of film stock through the camera once per day. In front of the lens, Kren also placed a masking board with holes in it, the placement of which was varied daily so that each time the film stock went through the camera, different areas of the image were exposed. The result is a film in which, within a single frame, time and space are made to overlap and coexist in unusual ways, creating impossible landscapes composed from footage shot on different days throughout the year. Sometimes, most of the film is exposed and the image becomes a collaged landscape, in which a snowbank runs directly into a grassy springtime meadow, or in which rain falls through the top half of the frame only to disappear when in reaches the bright sunshine of the lower half. At other times, the image is more pointillist, with distinct areas floating in the black frame like pieces of a puzzle that needs to be assembled. 　　The seasons run seamlessly into each other in this way, and time becomes hazy. Occasionally, a person will walk along the road in one part of the image, disappearing at an invisible border where the image fades into a different day, a different time. Kren is here reconfiguring film as a medium in which time and space cease to be linear in any sense. The film is instead about totalities; it invites the viewer to think about the progress of time and the way it generally works in cinematic images, and by contrast to process the multiple layered times implicit in each frame of Asyl. This short is Kren's finest work, with a conceptual purity and inventiveness that are unmatched even in his consistently intriguing oeuvre.

Judge Park Ki-poong lost his wife on the day his son Su-seok was born. As a result of this tragedy, Ki-poong ignores his son and Su-seok resents his father. The bad blood between the judge father and the lawyer son come to a volatile but humorous climax in the courtroom when they are on opposing ends of a divorce case.

Park takes place all in one day in a public park in Los Angeles, as 11 disaffected Angelenos find both love and loss in unexpected ways

Hotel is an American prime time drama series which aired on ABC from September 21, 1983 to May 5, 1988 in the timeslot following Dynasty.Based on Arthur Hailey's 1965 novel of the same name, the series was produced by Aaron Spelling and set in the elegant and fictitious St. Gregory Hotel in San Francisco. Establishing shots of the hotel were filmed in front of The Fairmont San Francisco atop the Nob Hill neighborhood. Episodes followed the activities of passing guests, as well as the personal and professional lives of the hotel staff.