"An Introduction to David Lynch" is a featurette originally released in the 2001 DVD release, Twin Peaks: The First Season. It features interviews with Catherine E. Coulson, Charles Ramirez-Borg, Lesli Linka Glatter, Miguel Ferrer, Michael J. Anderson, Kyle MacLachlan, Duwayne Dunham, Sheryl Lee, Peggy Lipton, and Richard Beymer, each discussing the filmmaking processes and methods of Twin Peaks co-creator David Lynch.

Youngho is summoned by his father, who is a doctor. Finding him busy with his patients, one of whom is a famous actor, Youngho has to wait. When his girlfriend Juwon moves to Berlin for her studies, Youngho shows up in the city to surprise her. Through her mother, Juwon has found accommodation at the home of an artist whose beauty intimidates her. Some time later, Youngho goes to lunch with his mother who wants to introduce him to a colleague – it is the same man Youngho met at his father’s clinic. Youngho asks his friend Jeongsoo to accompany him, and after lunch they go to the beach. Youngho falls asleep, and dreams of Juwon. When he wakes up, he braves the considerable cold and goes swimming, while Jeongsoo watches.

Hitoshi Kudo is a journalist who covers various murder cases. One day, his daughter is kidnapped by the frog man. In order to safely rescue her, Kudo is cornered by one unreasonable instruction after another.

The host of a children's TV show is really a psychopathic killer, and when he hears stories from the kids who watch his show about the abuse they get from their parents, he starts visiting the parents and murdering them.

Chart and Yod are assassins with equal skills. Under the supervision of Tran, the right-hand man of Madame Louise, an international drug lord. Nation and Yod are therefore rivals. Contend all the time, in every way, in every tactic to compete for oneness. Tran ordered the two to meet. to contact customers to wait for delivery of drugs, Ko-Ki-No, a new type of drug by warning them to beware of the follow-up and interference of the Narcotics Suppression Police, especially Pol. Col. Cherdsak, nicknamed "Mind Buster", who was directly in charge of this task. The latest type that when consumed There will be a fast psychedelic. and severe hallucinations Especially when motivated by music with a hot melody. The more the drug shows more effect. An overdose can lead to mania, murder, suicide, and drug-induced death.

While Pakistani immigrant Bashir has a love affair with a Norwegian woman, he witnesses a crime and sees a chance to blackmail the wrongdoer.

DELUXE TWO-DISC EDITION 　　AVANT-GARDE 3 EXPERIMENTAL CINEMA 1922-1954 　　CAVALCANTI MAAS PETERSON BROUGHTON BUTE KESSLER WHITNEY KIRSANOFF MURPHY MARC'O WATSON HUFF 　　From THE Collection of THE GEORGE EASTMAN HOUSE AND FROM THE RAYMOND ROHAUER COLLECTION 　　From the little theaters of the 1920s to the ad hoc film societies of the '50s, avant-garde cinema knew no established form and held no predictable position. The boundaries of its history are still hotly debated, but its rough sensibilities informed and permeated the city symphonies of Alberto Cavalcanti, the visual music of Mary Ellen Bute and John Whitney, the classroom films of Sidney Peterson, the confessional film poems of Willard Maas and John E. Schmitz, the Lettrist cinema of Marc'O, and even marginal exploitation films and home movies. Drawn from the rich collections of Raymond Rohauer and the George Eastman House, Kino's third volume of experimental films continues to illuminate the degree to which cinema's evolution has been influenced by those filmmakers who occupy its periphery.

DELUXE TWO-DISC EDITION 　　AVANT-GARDE 3 EXPERIMENTAL CINEMA 1922-1954 　　CAVALCANTI MAAS PETERSON BROUGHTON BUTE KESSLER WHITNEY KIRSANOFF MURPHY MARC'O WATSON HUFF 　　From THE Collection of THE GEORGE EASTMAN HOUSE AND FROM THE RAYMOND ROHAUER COLLECTION 　　From the little theaters of the 1920s to the ad hoc film societies of the '50s, avant-garde cinema knew no established form and held no predictable position. The boundaries of its history are still hotly debated, but its rough sensibilities informed and permeated the city symphonies of Alberto Cavalcanti, the visual music of Mary Ellen Bute and John Whitney, the classroom films of Sidney Peterson, the confessional film poems of Willard Maas and John E. Schmitz, the Lettrist cinema of Marc'O, and even marginal exploitation films and home movies. Drawn from the rich collections of Raymond Rohauer and the George Eastman House, Kino's third volume of experimental films continues to illuminate the degree to which cinema's evolution has been influenced by those filmmakers who occupy its periphery.