This movie consists of three chapters. In Part 1, Minju, who majors in fashion design, is preparing for her graduation exhibition. In Part 2, Seungju is an aspiring actress preparing for an audition. In Part 3, Hyejung and Dongmin head to their hometown, Uncheon, a rural village.

Alex is a paramedic who saves lives on London's gay chemsex scene, but can he save himself from it?

The Belgian filmmaker spent a period of time, unspecified, a week or two, in an apartment in Tel Aviv that was lent to her. She lived there alone, in virtually complete isolation, indirectly filming and narrating the experience, sustained only by "provisions" found in the kitchen, especially rice and carrots, having had stomach trouble from an Israeli salad; didn't go to cafes or supermarkets, and rarely even went out, except for a couple of forays to the sea; the apartment was a block or so from the beach. La-bàs is a series of long stationary shots out the windows, often showing figures of old people on balconies on the roof or buildings opposite. A woman, immobile, is tended to by her husband. One man sits for long periods motionless. Ackerman in voice-over says she thinks he's watching his plants grow. "But I don't think plants grow any faster in Israel," she says. Is this any better than the proverbial watching paint dry? Two aspects, visual and auditory, save this thin, dry, austere documentary from being a sterile art piece and make it both thought-provoking and haunting, for those who have the patience to sit through it; many will not. To begin with, screens filter the light of the windows in a beautiful way: the shots are often handsome, not unworthy of something by Hou Hsiau-hsien or Tsai Ming-liang, if without their human figures moving about. Further, Ackerman's voice overs, spoken off-camera during the shots, though skimpy, provide fleetingly penetrating, brutally frank self-revelations and contexts that range from the personal to the universal. Her father was once going to emigrate to Israal just after WWII and was waiting in Marseille to go, but he was warned that the Palestine environment was too harsh. The family settled in Belgium instead. She speaks of an aunt who committed suicide. Is she herself depressed? She speaks of passivity and laziness. She may be agoraphobic. She clearly is going through an agoraphobic period. She may also be afraid of bombs. A parent calls and expresses concern about her going out to dangerous places; she promises she won't. She speaks of prisons, external and self-imposed: this is one of the latter kind. People call and invite her out. She says she can't because she's working. This devotion to the enterprise makes something positive and substantial, even noble, about this otherwise evanescent, uncertain project. This is an act of painfully heightened self-consciousness, a self-examination, a journal both Zen-like and intensive. She also speaks of reading; making extensive notes; having "complex" thoughts. A certain ambivalence toward her Jewishness is also involved. Finally, with minimal means, Ackerman has forged something unique. A telling image: a Chasidic family leaving the beach. The man, in his quaint outfit, symbolizes the oddity of the Israeli enterprise. Ackerman doesn't comment on the oppression of Palestinians or Israeli dependence on the US. Her seclusion in the middle of Israel's largest city may be comment enough. This is something she apparently can't be a part of. But in her alienation, she couldn't be more Jewish.

一个平静的夜晚，楼下传来的声⾳引发了不同的反应和相似的冷漠。

父亲离世后，来到天桥摆摊卖手表的小康（李康生）同母亲一样，虽自觉与其并无多少情感，却无法摆脱其在精神上的无处不在。因为一块可以显示出巴黎与台北时差的手表，小康结识要去巴黎的湘琪（陈湘琪 饰），自此，精神抑压的他以为同巴黎（湘琪 饰）取得了某种形式的关联，获得某种虚空的安慰。 当小康通过把时钟调慢7小时、观看电影《四百击》等形式来表达他对湘琪暧昧的思念时，远在巴黎的湘琪也并没能从生活中找到多少积极的意义。无论同性（叶童）还是异性，她均无法从他们身上得到想要的温暖。

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在一座小城中，被邻里视为人渣混混的大明，为完成自己和妹妹的心愿，每日以讨债为生；小商人张德全，为追回欠款四处奔波。两个处在人生低谷的人因一场偶然的车祸意外结盟，合谋勒索欠钱不还的富商周总以解决各自的经济困境，却误打误撞绑了其女周蜜，未料两人被这个充满活力的小灵魂触动，周蜜的纯真点亮了他们灰暗的世界。一场绑架阴差阳错地转变为一场营救，亦是两人的自我救赎之旅。

上海，巴黎，大兴安岭， 不同的地点，不同的故事，却存在着某种联系。 上海 來自森林的国光在老陸的飯館里當服务員，巧遇女孩小夏，正當两人關係日益密切，小夏却意外死于車禍。国光陷入孤獨，為了完成小夏的遺愿，他帶着骨灰登上了东方明珠塔。 巴黎 老陸的儿子陸浩在巴黎留学，晚上被盜，為了生存他只能打工，每天給脾气古怪的房东老劉送外賣，与他逐漸結成往年之交，陪伴老劉渡過了最后的時光。 大兴安岭 傳统的生活方式正受到現代社会的衝擊。作為一個養鹿人人，国光的大哥的生活經歷着這巨变。他讓妻子和孩子離開大山，在城市里面生活，而他選擇留在大山里，繼續着祖先的游牧生活。

Marta returns to her mom's house to spend some days with her little sister in Madrid. The girl's strange behavior and the latent memory of a sad event will lead Marta to suspect that the house hosts an unsettling presence.

An elegant comedy of manners, based on W. Somerset Maugham's "Theatre". For once, the English-dubbed version can be recommended. Expert impersonators do the voices of Lilli Palmer and Charles Boyer, and the dubbing of the rest of the cast is on a similarly extremely high level. This film was actually an Austrian-French co-production, with 2nd unit work by Jean Sorel in London. It was directed by a German, Alfred Weidenmann, with just about an evenly mixed French and German cast. The direction is smooth, the photography able, and the girls, costumed by Pierre Balmain, are most attractive. The music score is nothing short of delightful. And I particularly liked the dialogue device of giving Miss Pakmer acid little comments on the action. (imdb.com) Adorable Julia, by director Alfred Weidenmann, is perhaps a little too provincial or out-moded for most audiences in spite of the sophisticated allure of Lili Palmer and Charles Boyer in the lead roles. Palmer plays the title character Julia, the philandering wife of Michel (Boyer), a very understanding husband. At the moment, the aging Julia is involved in an affair with Tom (Jean Sorel), a younger man more interested in climbing up the social ladder via this liaison than in any real romantic commitment. For several different reasons, Julia finally begins to see the light and starts to reconsider her long and well-established relationship with her husband.