关家仁（林家栋 饰）是一名收数员，为了维持生计，在业余时间，关家仁还做着代客泊车的兼职。罗萨（梁咏琳 饰）是关家仁的太太，因为在自己的丈夫身上看不到未来，最终，罗萨决定离开关家仁，留下了两人的儿子阿明由关家仁一人抚养。 　　一次偶然中，关家仁结识了名叫刘可儿（袁洁莹 饰）的女子，两人因为意外而成为了欢喜冤家。关家仁的工作越来越忙，逐渐没有时间照顾阿明了，为了给阿明找一个妈妈，关家仁和温柔的王思思（赵静仪 饰）走到了一起，但最终，这段缘分没能够走到最后。而关家仁和刘可儿在吵吵闹闹之中，早已经将各自的心暗许给了彼此。

关家仁（林家栋 饰）是一名收数员，为了维持生计，在业余时间，关家仁还做着代客泊车的兼职。罗萨（梁咏琳 饰）是关家仁的太太，因为在自己的丈夫身上看不到未来，最终，罗萨决定离开关家仁，留下了两人的儿子阿明由关家仁一人抚养。 　　一次偶然中，关家仁结识了名叫刘可儿（袁洁莹 饰）的女子，两人因为意外而成为了欢喜冤家。关家仁的工作越来越忙，逐渐没有时间照顾阿明了，为了给阿明找一个妈妈，关家仁和温柔的王思思（赵静仪 饰）走到了一起，但最终，这段缘分没能够走到最后。而关家仁和刘可儿在吵吵闹闹之中，早已经将各自的心暗许给了彼此。

SYNOPSIS 　　Young-ja runs away from a remote countryside to Seoul. Kang-geun, deeply in love with her, follows her to Seoul. But Young-ja is kidnapped by sex slave traders and Kang-geun is helpless to save her as he is being pummeled by them. Hye-ryun who runs a beauty parlor rescues Kang-geun and hires him as her driver. Her friends Sae-young and Mi-hyang try to seduce him. While Hye-ryun goes on a trip with her husband, Sae-young hires Kang-geun as a supervisor at her cabaret. Despite the success he has made, Kang-geun is nothing more than a plaything for these middle-aged women. When the cabaret is closed down for tax evasion and illegal operations, he goes on a ski trip with Mi-hyang. Days later, his brother Joong-geun arrives and chastises him for his degeneration and convinces him to rescue Young-ja. The three head back to their home town. 　　故事 　　让谁住在首尔山DUME失控，前爱她一起到首尔来的英语。然而，英语正在成为毒贩抓获，它必须符合获得他们前jjotdeon。在谁经营一家美容院haejugo获得作为一个司机，hyeryeon seyoung和米的一个朋友前的hyeryeon这一点 - 香也向他暗送秋波。左侧和我的丈夫seyoung旅行之间Hyeryeon被任命为管理歌厅前的导演对他的管理。但是，像前跑很长的路要走戏也是中年妇女的狗一样。前徘徊谁的datja门歌舞表演转型和销售逃税是弥滑雪之旅 - 香。几天后，前junggeun的弟弟似乎斥责他的秋天，和前制定的任务是拯救英国家庭的情人。而他们三人回家一回汉城。

Shot on Super-8 and hand processed, the film's materiality is treated not only as a medium but also as a subject. Through a confusing poetry, a filmic atmosphere unfolds in a 'non-place', which recalls a moment lost between two time-spaces.

康独自一人住在大房子里，Non住在镇上的一间小公寓里。 他们见面，然后分开，他们的日子像往常一样流逝。

康独自一人住在大房子里，Non住在镇上的一间小公寓里。 他们见面，然后分开，他们的日子像往常一样流逝。

片长51分钟，只是记录了冬天四川达州农村，一对老夫妻家长里短的生活。 村里的年轻人都外出打工，这个村的人大都是到广东鲘门去打渔…… 2011年制作，法国剪辑。

Claudio, 35 years old, manager, has been HIV+ for ten years. His life is marked by the medicine he has to take, his monthly medical examination, his humdrum job, and his long-term relationship with Dario. But when he meets Andrea, a sweet and handsome waiter, his certainties shatter.

Claudio, 35 years old, manager, has been HIV+ for ten years. His life is marked by the medicine he has to take, his monthly medical examination, his humdrum job, and his long-term relationship with Dario. But when he meets Andrea, a sweet and handsome waiter, his certainties shatter.

While her husband is away, Nina sets out to combat boredom. The wealthy woman visits an elderly aunt and frequents the stores and boutiques of downtown Belgrade. She spends the day with a handsome stranger who is obviously enamored with Nina, but the two separate at the end of their memorable day when she tells him she is married. 　　One day of married woman, who did not succeed to determine her place in life. She gets in series of characteristic situations which are discovering her life and faith. Her life is a reflection of her personal solitude. She meets a young man, who has just received a note that his father is dying. They spend one afternoon together, trying to give new shape and sense to picture of life. 　　Yugoslavian director Aleksandar Petrovic was one of his country's most prominent filmmakers during the 1960s. His best-known films are Tri (Three), which earned the highest award at the Karlovy Vary Film Festival in 1965, and Skupljaci Perja (I Even Met Some Happy Gypsies), which won the Grand Prix at Cannes in 1967. Petrovic got his start as a film critic following graduation from Belgrade University. His writings on cinema made him one of Yugoslavia's most respected film critics during the '50s. He then directed a few documentaries. Petrovic made his feature-film directorial debut with Dvoje (When Love Is Gone) (1961). This and his subsequent film, Dani (Days) (1963), were heavily influenced by French New Wave and heralded the dawning of the "Black Wave" in Yugoslavian cinema. Following the success of Skupljaci Perja, Petrovic began having difficulty with his government. It began when governmental officials took offense with his adaptation of Bulgakov's novel Majstor i Margarita (The Master and Margarita) (1972), calling the film a direct assault against communism. In 1973, Petrovic was forced to leave his post at the Belgrad Film Academy because of the scandal surrounding the film Plastic Jesus, which was made by his protégé, Lazar Stojanovic. Though he would continue on to make two more films, one of them in France, Petrovic's promising career was over.