Sayo and Keiji have eloped to New Zealand to marry, away from the interference of Keiji's disapproving mother in Japan. On their honeymoon, they have the freedom to express their love away from her repressive influence. However, on what should be the happiest of days, Keiji is drowned and Sayo must, by custom, return to live with her cruel and selfish mother-in-law.

On the run from a New Jersey crime family, two brothers wend their way to Los Angeles, where they make their dream of owning a restaurant a reality. But their life in hiding life becomes complicated when their lives are torn apart by their love for the same woman.

A couple is set in their monotonous life until the husband has a homosexual affair with a young male prostitute. Suspicious of her husband, the wife seeks the truth and eventually ends up in bed with the same young man. Their desire has a new meaning.

A silver screen actress drifts in and out of her character as she longs for the love of her co-star.

DESIRE is a non-chronological collage constructed from a corpus of materials drawn from the genre of melodrama. The work, grounded in the practice of decoupage, spans approximately three decades—from 1932 to 1958—and includes titles from the United States, Argentina, Great Britain, Finland, Italy, Japan, Mexico, and Spain. 　　Desire traces both a diachronic trajectory across time and a synchronic one within time, weaving a particular history of cinema along a temporal axis that is at once specific and archetypal. History itself, though continually shifting in its spatial and temporal configurations, appears to endlessly reproduce the same figures—interpreters who, beyond the specificity of their human and historical identities, seem fundamentally unchanged in gesture, modality, and essence. This recursive logic—an endless slipping and rising, ad infinitum—emerges in the film as a desperate attempt to escape a condition of human existence, here marked as specifically feminine, subjugated by the flow of time as a secularized and systematic machinery of power. 　　The film thus unfolds as an expression of impossibility ab ovo: the impossibility of a total liberation from the archive, understood as archè—sign, origin, and principle. Even when memory is reduced to ashes, the film’s figures wander along the threshold between presence and absence, suspended within the realm of desire.

Sylvia is a social worker who leads a simple and structured life: her daughter, her job, her AA meetings. This is blown open when Saul follows her home from their high school reunion. Their surprise encounter will profoundly impact both of them as they open the door to the past.

This drama is about a lawyer, Park Tae Suk who finds out that he has Alzheimer’s and puts his life on the line to fight one last case. The drama depicts his vigorous efforts trying to protect the precious value of the life and family love, while his memory starts fading away.

The film's protagonist, a young journalist, returns to the village where he spent his childhood years years later. The village is almost deserted, and the last inhabitants are thinking about leaving for the bar. Gogi begins a fight to preserve the once populous and prosperous village.

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Married Alma spends a fateful weekend away from home that ignites passion, ends in tragedy and leads her to question the truth about those close to her.