Banyu, a boy with autism spectrum disorder, starts a beautiful friendship with Radin and Kinara. When they all grown up, a tragic event occurred, putting their friendship on the edge of destruction.

Explore the relationship of two people as they go from being “just acquaintances” to “a genuine couple” — Yoon Jin Ah, a coffee shop supervisor in her 30s, and Seo Joon Hee, a designer at a video game company who has just returned from working abroad.

Maxwell Slaughter is a kind, heavyset guy who has reached the rank of master sergeant in the army. Admired by handsome young Sgt. Eustis Clay, Slaughter forms a close bond with his peer. Clay hopes to convince Slaughter to join him in a business venture outside of the service, but, in the meantime, he introduces the older officer to the beautiful young Bobby Jo Pepperdine, inadvertently creating trouble for both men.

Photographed through the windshield of a Vancouver city bus and edited according to the rhythms of the bus’ windshield wiper, the film transforms the linear narrative of the bus ride into a temporal construction that can be described as cubist. The effect of the cutting strategy on the actual temporal organization of the film is as remarkable as its effect on our sense of time.

Beom Soo, a sophomore in college, is from a wealthy family. He believes marriage is the holiest institution in the world. He is mistaken as a pervert on the subway one day and is publicly humiliated by Paeng Yeong Mi. He later finds out that she is his blind date. The two end up getting married but reality is harsh for these two newlyweds. Meanwhile, Beom Soo's friend, Casanova Kim searches for true love.

Photographed through the windshield of a Vancouver city bus and edited according to the rhythms of the bus’ windshield wiper, the film transforms the linear narrative of the bus ride into a temporal construction that can be described as cubist. The effect of the cutting strategy on the actual temporal organization of the film is as remarkable as its effect on our sense of time.

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First, a question to the viewer: if it were raining indoors, where would we seek shelter from the insistent drops? Where would we feel safe and dry? We have to go to the other side of the threshold. Suddenly a bell rings, and who is it ringing for? “I spoke to me, he to he, she to she, the ground spoke to the ground, the trees to the tree. Meanwhile inside, the familiarity of that well met rain continues to be falling…“ writes the director. 　　The animation, which evokes the presence of a hand, is like pleasant afternoon rain in summer – a time for contemplation, talking to oneself, and beholding a sky at dusk. Australian-born Milly Yencken studied painting in Tasmania and received her classical animation training in Vancouver, continuing her studies at Masters level at the Estonian Academy of Arts. Her work combines oil painting with charcoal to create her signature brand of colour brutalism and fauvist embellishment, attempting to create spaces and images that are immersive and invite reflection in the viewer. 　　源自：https://rigaiff.lv/en/films-2023/austrumlietus/

First, a question to the viewer: if it were raining indoors, where would we seek shelter from the insistent drops? Where would we feel safe and dry? We have to go to the other side of the threshold. Suddenly a bell rings, and who is it ringing for? “I spoke to me, he to he, she to she, the ground spoke to the ground, the trees to the tree. Meanwhile inside, the familiarity of that well met rain continues to be falling…“ writes the director. 　　The animation, which evokes the presence of a hand, is like pleasant afternoon rain in summer – a time for contemplation, talking to oneself, and beholding a sky at dusk. Australian-born Milly Yencken studied painting in Tasmania and received her classical animation training in Vancouver, continuing her studies at Masters level at the Estonian Academy of Arts. Her work combines oil painting with charcoal to create her signature brand of colour brutalism and fauvist embellishment, attempting to create spaces and images that are immersive and invite reflection in the viewer. 　　源自：https://rigaiff.lv/en/films-2023/austrumlietus/

一九六八年春天，柯波拉开拍《雨族》（The Rain People）。其原始构想来自柯波拉的童年记忆，一次他的母亲跟父亲吵架后出走了整整三天，有两天住到阿姨家，但无论如何母亲就是不肯说出之前一天的行踪。很久以后母亲才告诉他，她是待在一家汽车旅馆里害怕极了。