人到中年的何大上是丽江束河古镇一家小旅馆的老板，他的老婆终日围绕着他，给他一种从头管到脚式的爱，何大上不知如何摆脱这样的束缚。一天清晨，他在河边拣到了一只顺水漂来的皮箱，箱子里的东西让他魂飞魄散……与此同时，生意清淡的小旅馆里却住进了一对怪异的夫妻，女人尤其神秘……何大上以为自己梦想的自由到来了，却不料从此陷入无尽的噩梦之中……

阿志身负债务，妻子离家出走，只留下他和六岁的女儿相依为命。在讨债人上门不断催促之下，阿志一时失手杀死了爱女。失去了一切的他，只好把女儿的尸体放进行李箱，踏上了自我毁灭的道路……金钟编剧蔡怡芬首次转型成为导演，精准地营造出恐怖氛围，再加上莫子仪精湛的演技，共同打造出这部令人毛骨悚然的类型佳作。

宋家宜，三十幾歲的台北中產階級，性格單純，遇事容易緊張。她一人平靜的生活著，等先生從國外回來。她的先生，出版社總編輯，到紐約工作半年，最後卻沒有回家，因為一樁意外死了。 三個月後，世界照常運轉，家宜正試圖從陰霾走出，重建一種平靜。生活的外貌沒變，跟她先生活著的時候幾乎沒有不同，但是死亡卻在這時忽然回來叩門，向他展開一場持續的侵擾與鞭苔。 小葉是出版社的美編，個性善良但討厭麻煩，包括愛情在內，凡是不喜歡想太多的年輕人。他原本只是半被迫半好心的送回總編的東西給家宜，卻將自己的生活丟進一個莫名其妙、他自己也不懂為什麼的境況。

影片讲述了奋斗了半辈子的小两口，终于积攒了新房首付款，却在交首付款的最后一刻意外突然而至。以张大炮为首的贩毒团体，操作着本市大多数的毒品交。正当他与他的情妇缠绵时，却被告知毒品被人骗走了。 一场与贩毒团伙的斗智斗勇正在展开。

共产主义者卢年哲试图扰乱公众情绪。察觉到他的意图后，村庄青年崔茂龙潜入共产主义者的藏身之处，成功地将定时炸弹安装在了一盒致命物品上。然而，在他逃离藏身之处前，被发现并陷入了危险境地。在经历了几番险象环生的时刻后，他终于成功逃脱。不久之后，炸弹……

A friend of mine had rented "Shiner" only because the clerks at his local video store were talking about "how much of a bigot the director is," implying that homophobia was at the root of the film (apparently these folks never watched the special features on the DVD, which totally negates that opinion). My friend took the video home and reported to me his fascination with the film; at the same time, he felt aroused, repulsed, intrigued and frightened during and after the flick. He told me about the premise of the film, and felt somewhat ashamed for finding some of its darker content erotic. A few weeks later, I picked up the film and had a similar experience. I was confused; in the queer movement were taught so much about power dynamics and organize ourselves to fight violence, but here was a dramatically different take on the subject. What ended my confusion was the interview with writer/director Christian Calson on the DVD. The line of his that grabbed me the most: "I didn't want to make another gay romantic comedy." Things suddenly made sense to me. So many queer, I mean, gay films (ahem) are merely homo-remakes of mainstream romantic comedies. As queers, our message got lost as we sought inclusion in a particular medium. So, in what might be the most post-modern move of a writer/director in film history, Christian Calson sought to queer gay cinema. (Yes, I'm using queer as a verb.) He later supports this argument by talking about a form of "post-gay liberation" in which gay leaders shouted "We're doctors! We're lawyers! We're teachers!" to the point our difference and diversity became invisible. "We're just like you" led to us becoming nothing, in a sense. While the movie is disturbing at times, it's thoroughly engaging. The audience member feels like a voyeur, peeping into the lives of these three "couples." And through that voyeurism, we come to a closer understanding of the elements of violence and how it relates to queerness. From self-loathing to internalized homophobia, from bitter rage to being just plain f'ed up, "Shiner" takes us through a mini-gamut of how violence affects us all, in ways no PSA or "the More You Know" segment could ever hope to address. I highly suggest that you pick up the DVD of the film and watch the special features, including the Calson interview and the commentary, which is a noteworthy production in its own right.

Maxime, un jeune homme de 25 ans, débarque à Paris, mais souhaite rejoindre Justine, la femme qu'il aime, en Inde. Au bar de l'hôtel Raphaël, il fait la connaissance de Jack Lesterhoof, un riche homme d'affaires qui lui propose de devenir son interprète pour un rendez-vous important. Maxime accepte. Les deux hommes deviennent bientôt amis. Jack décide de faire un break, de rompre avec la routine et d'accompagner Maxime en Inde.

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