This experimental film explores nostalgia, human limitations, and the absence of freedom. Blending animation with live-action footage, it delves into disorientation and alienation from nature. Through metaphors and contrasts, it reflects on the universal longing for connection and identity. Ultimately, it captures the profound pursuit of belonging.

The top 0.01% of students control law and order at Jooshin High School, but a secretive transfer student chips a crack in their indomitable world.

Oh Sam Sook with her best years behind her, finally married reluctant bachelor Han Ji Won, and he was determined to keep living the bachelor life.

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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.

When he learns that his daughter is to be engaged to the son of a rich businessman, Leon Martin realizes that extreme measures are needed to create a good impression.

An angry young man of the theatre, who has written a play that could be a hit, if actress Sara Lescaut agrees to play the lead. Kolinos, however, is determined not to alter one word of his script to make it a more commercial vehicle.