After the tragic overdose of his estranged friend, Will, a recovering addict, returns home, where he is reunited with Claire, his friend's grieving mother, with whom he begins a secret but volatile affair.

自从工业革命以来，每次技术革新产生的新岗位，都不会少于革新技术而淘汰的岗位，然而，这一趋势会继续下去吗？ 　　生命，首先在于生存，继而繁荣。我们永远不可能知道，我们还能在这颗星球度过多少岁月，因此我们的任务就是坚持不懈的努力生存，并且抗击可能存在的所有威胁。 　　当下最大的威胁并不是疾病、恐怖主义、自然灾难，而是已经无法继续可持续发展的政经体系。 　　法律、医学、会计、建筑、广告、工程、咨询、翻译，无论你学什么专业，你的学位和准备都将是徒劳无功。 　　也许在未来，有工作的人才是贵族，赡养着全世界的无用之人。 　　也许在未来，没有人需要赚钱糊口，你可以专心钻研任何你喜欢的课题。

Witches have moved into the neighborhood and Mrs. Turnbull is not happy about it.

一部集塔伦蒂诺、吴宇森和成龙于一炉的纯阳刚电影，将韩国大男人的火爆表露无遗。原是四出不同风格的短片，首段是动作片，次段是恐怖片，第三段半带纪录味道，末段属警匪片范畴。（其中两段《群殴》和《同代人》曾分别在韩国两短片展获奖）。导演偏在首部长片即把心爱的类型一网打尽，角色交叉映衬，剪成后天衣无缝。黑帮份子与警探昔日是同窗，今天成了死对头，个中原委由他们现身说法。演员既要打得又要演得，连导演自己也在片中一显身手。末段黑帮撕杀大火拼，敢情挑战银幕暴力的极限，叫人瞠目结舌。

一部集塔伦蒂诺、吴宇森和成龙于一炉的纯阳刚电影，将韩国大男人的火爆表露无遗。原是四出不同风格的短片，首段是动作片，次段是恐怖片，第三段半带纪录味道，末段属警匪片范畴。（其中两段《群殴》和《同代人》曾分别在韩国两短片展获奖）。导演偏在首部长片即把心爱的类型一网打尽，角色交叉映衬，剪成后天衣无缝。黑帮份子与警探昔日是同窗，今天成了死对头，个中原委由他们现身说法。演员既要打得又要演得，连导演自己也在片中一显身手。末段黑帮撕杀大火拼，敢情挑战银幕暴力的极限，叫人瞠目结舌。

Alexander Gifford has to be the cheapest skinflint on the planet. He chides his wife for leaving a light turned on and he reads his neighbors newspaper rather than buy his own. When his wife discovers he has bank accounts totaling $33,000 she starts spending money on herself and he decides he has to do something about it. He tries to hire a hit man, but recoils when he's told that the fee would be $500. The hit man refers him to a chemist to buy poison, but again recoils at the cost. He decides to find a low-cost way to proceed, but even when he's successful is taken aback when the doctor tells him that the funeral will likely cost at least $160. Even with that, he finds a way to avoid the costs.

出生在一个被黑手党控制的小城里，一名愤怒的年轻女子决意向拆散和囚禁她家人的邪恶力量复仇。

钟灿（金柱赫 饰）和妻子妍红（孙艺珍 饰）结婚多年，膝下有一可爱的女儿，两人男才女貌，在外人眼中是如同神仙眷侣一般的存在。钟灿涉足政坛，事业小有成就，同僚们都知道，他将有极大的可能成为下一任的国会议员。 　　某一日，厄运降临到了这个幸福的家庭之中，女儿无故失踪下落不明，留下难以解释的模糊线索，令警方毫无头绪。让妍红感到不可思议的是，对于女儿的失踪，钟灿似乎并没有那么焦急，他脑中所想的，只有如何在下一场竞选中取得胜利，夫妻两人之间的感情因此而产生裂痕。无奈之下，妍红只得强打起精神，她知道，女儿所能依靠的只有自己。

一名受人尊敬的主播（高庚杓 饰）突然在播报时失去自我约束力，此举吸引了一名电视台编剧（姜汉娜 饰）的注意，并邀请他上自己的综艺节目。

The subtitle of Jean-Marie Straub and Danièle Huillet’s first feature, from 1965, “Only Violence Helps Where Violence Reigns,” suggests the fierce political program evoked by their rigorous aesthetic. The pretext of the film, set in Cologne, is Heinrich Böll’s novel “Billiards at Half Past Nine,” which they strip down to a handful of stark events and film with a confrontational angularity akin to Bartók’s music that adorns the soundtrack. The subtlest of cues accompany the story’s complex flashbacks. The middle-aged Robert Fähmel tells a young hotel bellhop of persecutions under the Third Reich; his elderly father, Heinrich, an architect famed for a local abbey, recalls the militarism of the First World War, when his wife, Johanna, incurred trouble for insulting the Kaiser. A third-generation Fähmel is considering architecture, just as the exiled brother of Robert’s late wife, returns, only to be met by their former torturer, now a West German official taking part in a celebratory parade of war veterans. Straub and Huillet make the layers of history live in the present tense, which they judge severely. The tamped-down acting and the spare, tense visual rhetoric suggest a state of moral crisis as well as the response—as much in style as in substance—that it demands.