Synopsis 　　One of the few partisan units left in Mt. Jiri after the signing of the Armistice, the unit led by a captain nicknamed "Agari" (meaning "mouth" in Korean) commits all manner of atrocities. Cheol-su(Kim Jin-kyu), who has started to grow disillusioned with the communist ideology, is troubled by the romantic feelings professed by an ideologically devout and cool-headed female comrade named Ae-ran (Lee Ye-chun). One day, another female partisan soldier named So-ju, who had been transferred to another unit, finds her way back to Piagol with a bullet wound in her shoulder. Man-su (Heo Jang-kang) rapes the injured So-ju, who dies under his assault. In order to cover up his crime, he murders his fellow soldiers, frames Dal-su for the rape, and kills him. Once the extermination of guerillas in Mt. Jiri begins, all the partisan soldiers face imminent death. Disgusted by partisan life, Ae-ran and Cheol-su discuss defection, but are discovered in the act by Agari. Cheol-su and Agari get into a fight, and Cheol-su is killed. In the end, Ae-ran kills Agari and descends the mountain alone. 　　Notes 　　"The first movie to be banned for violating the Anti-Communist Act, due to its humane portrayal of North Korean partisan soldiers." 　　Piagol, which served as the cinematic model for anti-communist humanism, depicts each of its characters, either in main or supporting roles, with vital detail. What makes Piagol at once unique and problematic as an anti-communist film is the fact that no South Korean soldier or police officer ever makes an appearance; it only features North Korean partisan soldiers. Unlike the guerilla fighters in newspapers and documentary films, who were portrayed as anonymous villains and cold-blooded killers, Piagolendowed partisan soldiers with distinctive personalities, and each unique character encounters human conflicts caused by his or her desires. The media and the government banned the film from being screened on the charge of violating the Anti-Communist Act, censuring its excessively "realistic" and human depiction of North Korean soldiers. (Critic Lee Young-il, author of The History of Korean Cinema [Hanguk yeonghwa jeonsa], cited this very fact as his basis for dubbing this film as an example of realistic anti-communist humanism and praising its artistic achievement.) Because the audience at the time held only vague ideas about the difference between dramatic films and documentary filmsi.e. between fiction and factand because anti-communism was deemed more than a simple ideology but a matter of survival, Piagol's realistic depictions might well have been considered threatening. 　　Indeed, one of the most prominent characters in the film, partisan leader Agari (Lee Ye-chun), is a good case in point. Although he is portrayed as a brutal villain throughout, a nightmare sequence conveyed through an intricate montage sequence endows him with internal conflict and feelings of guilt regarding his own cruelty and violence. Further, the expression of his obsessive devotion to ideology, which he is unable to abandon even at the end, elicits a measure of sympathy from the audience. Most of all, the character of Ae-ran (No Kyeong-hee), a capable and decisive female leader who shows rigorous dedication to the communist cause until the latter half of the movie, is represented in a considerably attractive light. Honest about her feelings and desires, and more capable than anyone else, Ae-ran exemplifies the image of an active woman even from our contemporary perspective. 　　Afterword: 　　- Piagol's initial screening license was revoked because of an anti-communist controversy, but the film received permission to re-screen thereafter. 　　- As shooting took place in Mt. Jiri soon after the Armistice was signed, when remnants of partisan bands were still hiding out on the mountain, the staff and cast testified to having actually felt a sense of danger during filming.

仙界，神仙与人类所居住的那个世界迎来了毁灭的危机。掌握改变世界关键的正是寻找着凶神・四凶的歌士一叶与其使役神滇红。两人隐瞒着各自的目的寻找着四凶。倍受束缚的家族与其失去的过去，为了取回重要之物，一叶与滇红将走遍世界。以长年广受阅读的高山忍的人气漫画为题材所改编，描写歌士一叶与其使役神滇红的战斗的奇幻动作片！倍受束缚的家族与其失去的过去。为了取回重要之物，歌士一叶与其使役神滇红的战斗即将展开！

曾经有这四位凶神与八百万神灵的国家[实际是中国]，被封印在四方的山中的四凶神中的两神逃走后，八百万神灵也离开奔向世界各处。自此这个国度就被伟人们守护着。这个没有了神话的国度为了找回奔向各地的八百万神灵设立了一种职业——歌士官。主人公，一叶，正是这其中的一员。

曾经有这四位凶神与八百万神灵的国家[实际是中国]，被封印在四方的山中的四凶神中的两神逃走后，八百万神灵也离开奔向世界各处。自此这个国度就被伟人们守护着。这个没有了神话的国度为了找回奔向各地的八百万神灵设立了一种职业——歌士官。主人公，一叶，正是这其中的一员。

孟加拉国导演穆斯塔法·萨瓦尔·法罗齐曾凭借《蚁族与明星》入围2014年上海国际电影节金爵奖主竞赛单元，十年后，这位老朋友携新片《类自传》与上海影迷重聚。在这部新片中，法罗齐本色出演，与他现实生活中的妻子努斯拉特·伊姆罗斯·蒂莎扮演一对明星夫妇。影片展现了导演法尔罕和演员 蒂蒂在面临着生育的社会压力时所经历的错综复杂的关系变化，英文片名“Something Like an Autobiography”取自日本电影天皇黑泽明自传《蛤蟆的油》的英文书名，为本就“元叙事”的结构增添了一层迷影意味。

孟加拉国导演穆斯塔法·萨瓦尔·法罗齐曾凭借《蚁族与明星》入围2014年上海国际电影节金爵奖主竞赛单元，十年后，这位老朋友携新片《类自传》与上海影迷重聚。在这部新片中，法罗齐本色出演，与他现实生活中的妻子努斯拉特·伊姆罗斯·蒂莎扮演一对明星夫妇。影片展现了导演法尔罕和演员 蒂蒂在面临着生育的社会压力时所经历的错综复杂的关系变化，英文片名“Something Like an Autobiography”取自日本电影天皇黑泽明自传《蛤蟆的油》的英文书名，为本就“元叙事”的结构增添了一层迷影意味。

总裁刘卿影因为一心搞事业被员工粉丝网暴遭遇事业危机。为了挽救事业，不得不与西梁城主达成交易——穿越西梁帮助城主度过生死大劫。但是事业心很强的总裁刘卿影万万没想到，这个城主后宫男宠众多，个个都想侍寝！ 刘卿影为了劝退男妃们的侍寝，决定专宠城主强抢而来的民男甄晚。而此时刘卿影却不知，她误以为的小仙男甄晚，身上竟背负着刺杀城主的使命……

该片是对美国耶基斯地区灵长类研究中心对灵长类身心发展和生活行为的一系列常规研究的观察，包括对其性行为的操纵、学习能力的测试和活体手术等。通过类似监狱的环境下以非人道途径来增加自然知识总量的行为，反映了人类本身作为灵长类群体对实验对象的权力干涉，也对模糊的实验目的提出沉默的质疑。

总裁刘卿影因为一心搞事业被员工粉丝网暴遭遇事业危机。为了挽救事业，不得不与西梁城主达成交易一一穿越西梁帮助城主度过生死大劫。但是事业心总裁刘卿影万万没想到，这个城主后宫男宠众多，个个都想侍寝！刘卿影为了劝退男妃们的侍寝，决定专宠城主强抢而来的民男甄晚。而此时刘卿影却不知，她误以为的小仙男甄晚，身上竟背负着刺杀城主的使命……

姜沅入宫选秀，因长相与皇帝白月光姚茉曦极为相似被淑妃针对，淑妃便想要暗中处理掉她。姜沅被淑妃派人差点杀死之际，皇帝出现救了姜沅。原来，皇帝早就知道姚茉曦是有心之人安排的，只是不知道她的目的和背后之人，和姜沅商量之后决定将计就计，把坏人一网打尽。