赵炳斗（赵仁成 饰）是一个三流社团的小头目，家中有两个弟妹，母亲身体不好，生活困顿；他在社团里也混得不如意，老大不器重，净派一些当街打架、恐吓收债的小事情，本来应该他接手的游戏厅也被别人抢了功。 炳斗的同窗好友金珉浩（南宫民 饰）是一个不得志的小导演，为了拍黑帮片，找炳斗体验生活；在金珉浩的帮助下，炳斗也和初恋对象姜贤珠（李宝英 饰）重逢，但是炳斗黑社会的身份让贤珠心存芥蒂。 终于，炳斗抓住了一个机会代替了老大，在社团中地位大大提升，他帮助清理拆迁中的钉子户，使社团新开发的房地产项目大获成功，自己也从中分了一杯羹；在他坚持不懈的努力下，贤珠渐渐接受了他的感情，他也答应退出黑社会，过平淡的生活。 金珉浩的电影因为真实而深受好评，炳斗到电影院观看，正是这部电影，改变了二人的生活，事情往不可控制的方向发展

“你能不能带我离开这里？”“是不是很辛苦？为什么要这么拼命努力？” 米颂（Misong）是一名负债累累的妓女，生活在红灯区，和她的皮条客根熙（Geunhee）一起生活。他们的生活或许是世上最卑劣、最徒劳的。他们越是努力逃离，陷得就越深。每一天，生存都变成了一场战争。米颂日益疲惫，渐渐失去了所有希望。她也开始反感根熙，这个无所事事的累赘。根熙一直是个傲慢的赖账者。 有一天，根熙打起精神找了份工作，却遇到了一个熟悉的街头混混，对方给了他一个难以拒绝的危险机会。根熙如今站在了人生的岔路口，必须做出抉择。 这是一个女孩和一个男人在社会底层的凄美爱情故事……这是边缘人（Ddaraji）的生活，没人在意他们，他们也无人可依靠？

吃人家族的惊魂野餐之旅

这是一部忧郁喜剧片，讲述一位医生尝试用独特的方法治愈他的痴呆病人－－强迫其中一个病人扮演阿道夫·希特勒的方式！召集其他病人担当希特勒的忠实追随者伊娃、布劳恩等人，使得那位疯狂医生的计划安排有着可预知的悲伤喜剧效果。

罗伯托是个年轻的同志男孩，每天他都在别人的床上醒来，为了方便母亲和姐姐在家接客，无处容身的罗伯托只能成日在街头闲晃。罗伯托与劳尔的关系开始于街头搭讪，这个50多岁的男人邀请罗伯托去了自己家里。每一次劳尔的性爱都强硬而粗暴，之后，罗伯托在劳尔家安顿了下来，而劳尔时常的彻夜不归打破了两人表面上的相安无事。 欲望得不到发泄的罗伯托通过网络认识了来阿根廷旅游的西班牙男人塞萨，两人一拍即合。无法忍受背叛滋味的劳尔开始慢慢失控...（http://www.kan84.net/bdhd/btVilRomance.html）

Domestic difficulties develop in a working-class family when their daughter falls in love with a Jamaican. Made in the wake of the 1959 Notting Hill riots, Flame in the Streets (d. Roy Ward Baker, 1961), is a tense examination of racial prejudice. Adapted by Ted Willis from his own stage play Hot Summer Night, it had already been produced for television (ITV, tx. 1/2/1959) for the Armchair Theatre strand. In this screen presentation, Roy Ward Baker makes no allowances for liberal sensibilities and pulls few punches in delivering what he himself termed "a harsh picture". Baker's harshness, however, is not entirely without subtlety. He is careful not to be judgemental and much of what transpires is almost in the form of an exposé. Baker elicits a stirring performance from Brenda De Banzie as Nell, whose transformation from typical housewife and mother to snarling racist is the centrepiece of the drama. This is reminiscent of another Earl Cameron film, Sapphire (d. Basil Dearden, 1959), in which it is the sister of the main suspect who is finally revealed as the murderer, driven by a pathological hatred of black people. Peter Lincoln (Johnny Sekka) and Gabriel Gomez (Cameron) are driven by forces quite different from those that drive Kathie and her family, although this is not necessarily due to their cultural difference. Within the integrity of both black characters there is a sense of longing for something other, something as distant as it is difficult to express, and therefore never quite articulated. Gomez is especially keen to avoid conflict, even if this means accepting less than his ultimate worth. But his lack of assertiveness brings him into conflict with his wife Judy (Ann Lynn), who has to force him to attend the crucial union meeting at which his promotion will be decided. Rather than seize his opportunity, he would prefer others decided his fate. To a large extent this perception of West Indians died with the Notting Hill riots. Cameron's performance is assured and deliberate, while Sekka's Lincoln embodies the emotional consequences of the film - heartbreak and a sense of loss. Both characters are presented as martyrs to a higher cause. But in the end, as in reality, Gomez and Lincoln are forced to fight. Their main struggle, however, is with themselves, centred on their fleeting sense of belonging.

2009年1月，胜涵与伙伴们在寒夜中离开待了两个月的自由广场。那是一场始于对成年人怒吼，终于对成年人道歉，什么诉求都没有达成的社会运动。五年後，胜涵与伙伴们再也不想枯坐在立法院内。318运动的第六个夜晚，他们与数千名群众翻进了行政院，试图升高对抗强度。等待他们的是警棍、盾牌与镇暴水车。接下来的12小时，或者更久，他又一次被捲入那深黯漫长，被叫做运动伤害的漩涡。这是关于离开广场，走上街头的年轻社运者们，在「成为大人」的模糊边界上，通过失败、选择、确认自我样貌的故事。

一个自称“嘻哈之光”的中年男人频繁踢馆江都市说唱会馆，他用嘶哑的嗓音跟年轻人比拼着，然而没有人把他当回事，唯一一个学员是一紧张就结巴的男孩小飞。小飞对他深入了解后，发现了他的一段二十年前的说唱往事。

五星饭店主厨镇东被当众诬陷用假海参，虽当场拆穿却被经理以“破坏饭店声誉”抹杀，十几年心血付诸东流。他脱下厨师服，一无所有来到大学城陪儿读书，校门口摆起甏肉干饭小摊。老汤铁锅吸引排队人潮，生意火爆却招来同行嫉恨，一封“学生食物中毒”实名举报将他推向风口浪尖。愤怒家长围堵时，学生们悄悄举起手机，记录真相。