李美心与杜子平是一对同在小歌舞团工作的爱侣。平为了前途，抛下以身相许的心，远赴日本学艺。心悲痛之余，加入了一旅行歌舞团，寄情事业。团长金石鸣赏识心，欲培养她成为台柱。歌舞团载誉归来，心亦走红，却发现怀了平的孩子。鸣为了歌舞团与心的声誉，与心结婚。平学成回来，与心重遇，且同台演出。平欲再续前缘，心感念鸣的恩情，多番拒绝，最后在台上演出时，不堪平的纠缠，从升降板上失足堕下，香消玉殒，心的首本名曲“教我如何不想她”从此成为绝唱。

李美心与杜子平是一对同在小歌舞团工作的爱侣。平为了前途，抛下以身相许的心，远赴日本学艺。心悲痛之余，加入了一旅行歌舞团，寄情事业。团长金石鸣赏识心，欲培养她成为台柱。歌舞团载誉归来，心亦走红，却发现怀了平的孩子。鸣为了歌舞团与心的声誉，与心结婚。平学成回来，与心重遇，且同台演出。平欲再续前缘，心感念鸣的恩情，多番拒绝，最后在台上演出时，不堪平的纠缠，从升降板上失足堕下，香消玉殒，心的首本名曲“教我如何不想她”从此成为绝唱。

高中老師韮崎是一名男同志，卻受限於福態而遍尋不著對象。某天他發現自己的學生四方津也是同志，令他對四方津產生幻想，卻發現四方津其實心儀班上的資優生。韮崎雖然沮喪，仍鼓勵四方津勇敢告白，也因而令自己重拾信心。

高中老師韮崎是一名男同志，卻受限於福態而遍尋不著對象。某天他發現自己的學生四方津也是同志，令他對四方津產生幻想，卻發現四方津其實心儀班上的資優生。韮崎雖然沮喪，仍鼓勵四方津勇敢告白，也因而令自己重拾信心。

在高档健身房，健身和野心与谋杀、秘密和背叛混合在一起。当生活重叠时，隐藏的动机就会出现。在这个充满爱、贪婪和欺骗的网络中，信任是稀缺的，生存是最重要的。 在一个健身、野心和欲望碰撞的世界里，高端健身房成为秘密、背叛和令人不寒而栗的谋杀案的背景。当个人生活和职业生活交织在一起时，隐藏的议程被曝光，没有人是他们看起来的那样。在这个关于爱、贪婪和操纵的扭曲故事中，信任是一种奢侈，而生存是最终目标。

演技系第一的道允和以蹩脚演技著称的偶像时宇一起听演技课程而展开的可爱恋爱故事。从甜蜜的罗曼史到青春的成长期，用多样的故事填满1分钟的韩国最初的短剧作品。

演技系第一的道允和以蹩脚演技著称的偶像时宇一起听演技课程而展开的可爱恋爱故事。从甜蜜的罗曼史到青春的成长期，用多样的故事填满1分钟的韩国最初的短剧作品。

故事发生在距今千百万年前的原始社会，皓月当空，月朗星稀。原始丛林的某个角落，山洞内闪耀着乳黄色的火光。镜头拉近，我们看见一个身穿兽皮、胡子拉碴的原始人正用手在岩壁上涂涂画画。他正在画一个体型丰满到极度变形的女子，女子裸露全身，线条曼妙流畅。而且壁画不止一副，而是画了很多女子一字排开。当最后一幅完成之后，我们的原始人艺术家开始以极其超前的方式欣赏着他的旷世杰作…… 　　本片为2002年法国昂西动画节开幕动画短片。

Included in Jonathan Rosenbaum’s list of 1000 essential films, Parviz Kimiavi’s The Mongols (1973) is a leftfield satire and sharp commentary on the expanding presence of cinema and television in Iran. The story follows a filmmaker, played by Kimiavi himself and also named Parviz, as he struggles with both his own film and a looming assignment to oversee the installation of a television relay station in the remote province of Zahedan. Imbued by his wife’s thesis work on the Mongol invasion of Iran, Parviz’s anxieties coalesce and materialize in the form of surreal visions in which the origins of cinema are acted out by the Turkomans he hired to play Mongols in his own film. Together with Parviz, we watch as the would-be gang of Mongols wander the desert in search of their director and the answers to their pressing questions about the nature of cinema, all while the forthcoming introduction of television consumes the local village and its inhabitants. Kimiavi fashions a fantastical cinematic space rife with bizarre metaphoric imagery and Godardian references to film-making in order to draw a sarcastic parallel between the Mongol invasion and the hyper-accelerated modernization of 1970s Iran. 　　A director of a television series on the history of cinema, who has been grappling with the screenplay of his first feature film, receives an assignment to oversee the installation of a television relay station in a remote region of Zahedan province, near the Afghanistan border. He has already hired Turkoman tribespeople for his film and selected his filming location. Meanwhile his wife, who is working on her Ph.D. dissertation about the Mongol invasion of Iran, attempts to dissuade him from accepting the assignment. One night, while working on his history of the cinema series, the director fantasizes a diagetic world that consists of clever juxtapositions of his different worlds: the history of cinema, the history of the mongol invasion, his own film idea and his imminent assignment to the desert.