故事发生在位于南方山区的一个小村庄里，金竹（王雁 饰）的丈夫王大猛在一场矿难中不幸丧生，留下金竹和女儿欢欢两人相依为命。王大猛有一个弟弟二猛，长嫂如母，金竹不仅在生活上照顾着二猛，还为二猛找了一个漂亮的女朋友凤月。可是，二猛和凤月之间的价值观相差巨大，二猛想要努力在矿 上工作报效国家，凤月却担心他的安全问题而不支持他的工作，就这样，两人最终分道扬镳。 　　实际上，二猛一直默默的喜欢着金竹，在凤月离开后，二猛将自己的爱慕之情统统倒出，金竹又羞又怒，拒绝了二猛。但二猛并没有就此放弃，而是抓住一切机会帮助金竹，渐渐的，金竹对二猛的感情发生了变化。

故事发生在位于南方山区的一个小村庄里，金竹（王雁 饰）的丈夫王大猛在一场矿难中不幸丧生，留下金竹和女儿欢欢两人相依为命。王大猛有一个弟弟二猛，长嫂如母，金竹不仅在生活上照顾着二猛，还为二猛找了一个漂亮的女朋友凤月。可是，二猛和凤月之间的价值观相差巨大，二猛想要努力在矿 上工作报效国家，凤月却担心他的安全问题而不支持他的工作，就这样，两人最终分道扬镳。 　　实际上，二猛一直默默的喜欢着金竹，在凤月离开后，二猛将自己的爱慕之情统统倒出，金竹又羞又怒，拒绝了二猛。但二猛并没有就此放弃，而是抓住一切机会帮助金竹，渐渐的，金竹对二猛的感情发生了变化。

18岁的许笑笑有一个死对头——校霸江贺。他英俊、冷漠，专业课成绩总是压她一头，处处与她作对，还霸凌内向文静的男同学！许笑笑讨厌他，岂料再醒来，她发现自己已经28岁，江贺竟然睡在她床上，他们还结婚了！遭受重创的许笑笑企图找到江贺戏耍她的证据，不料证据没找到，反而找到了一堆自己不守妇道，疑似出轨的凭证。

2015年11月，突尼斯的麦吉拉山。一支圣战组织袭击了两名年幼的牧羊人，14岁的阿什拉夫被迫将噩耗带回家。在创伤的阴影下，阿什拉夫竭力保持理智，却不得不面对长辈的无力和当局的抛弃。影片灵感源于真实事件，探索了阿什拉夫在面对如此惨痛经历后的心理状态和情感旅程。

2015年11月，突尼斯的麦吉拉山。一支圣战组织袭击了两名年幼的牧羊人，14岁的阿什拉夫被迫将噩耗带回家。在创伤的阴影下，阿什拉夫竭力保持理智，却不得不面对长辈的无力和当局的抛弃。影片灵感源于真实事件，探索了阿什拉夫在面对如此惨痛经历后的心理状态和情感旅程。

文帝村是以汉文帝陵命名的村庄，和大都市紧紧相连。在城市基础建设不断扩充的过程中，文帝村的土地像切豆腐一样被切走。村党支部书记杨明亮在村里工作了三十多年，看到土地流失非常痛心，但又无力阻止。村里划地得到一百万，老书记想留着给村办企业做资金，村长和村委会成员以少数服从多数的决定，把钱在村里分掉。杨子建，老支书的大儿子，转业军人，与本村姑娘丽玲相好，遭到双方父母反对。二人私奔，丽娇告密。丽玲被抓回，子建怒走他乡。老支书让二儿子杨子恒找子建。杨子恒在找子建的过程中与村里的秘书朵朵朦胧中有了感情。丽玲被哥哥抓回，父亲杨盼雨托媒婆七彩给丽玲找婆家。媒婆见丽玲漂亮，为了钱，把丽玲卖给了已离婚的暴发户曹和光，从中获利。哥哥用卖丽玲的彩礼钱娶了老婆。丽玲嫁到曹家第二天就被曹和光痛打了一顿，从此，丽玲在曹家备受欺侮，痛不欲生。

MTV旗下频道LOGO资助拍摄的独立短片系列之一。 　　Ben isn't indecisive. He knows what he wants... he just never goes after it. He thinks he's found true love in his college roommate Morgan, who just happens to be straight. Ben's rich fantasy life allows him to have a close relationship with Morgan without having to confront how he feels. But as their friendship becomes more and more complicated, Ben finds that being honest with Morgan may be the straightest path to happiness, regardless of the outcome.

Synopsis 　　Su-dong (Cho Yong-su) and Ok-rang (Kim Sam-hwa) have been betrothed since before they were born. When Scholar Kim's son Mu-ryeong (Park Am)recently returned from Hanyangbegins to lust after Ok-rang, her mother, who considers Su-dong unworthy of her daughter's hand, takes advantage of this fact to strike a promise of marriage with Scholar Kim's wife. Su-dong's mother (Ko Seon-ae) and Ok-rang's father (Kim Seung-ho) have their children secretly wed on a field, and the newlyweds run away from the village. After spending their first night together, they are captured by Scholar Kim's men who have pursued them, and Su-dong falls off a cliff in the process. Encountering Ok-rang as she is being dragged back by Scholar Kim's men, her father kills one of them by accident and both father and daughter are thrown in jail. Mu-ryeong demands Ok-rang's hand in marriage in exchange for covering up the murder, and Ok-rang reluctantly accepts his proposal. Mu-ryeong takes Ok-rang home after she is released from jail. Su-dong, following in their wake, tries to kill Mu-ryeong, but when Ok-rang tells him that she is determined to marry Mu-ryeong, he falls into despair, returns to his home, and hangs himself. Su-dong's mother and uncle bury Su-dong's body by the road that Ok-rang's wedding procession is to take. Whenthe procession passes by the grave, everyone in the party finds that his feet are stuck to the ground. Su-dong's mother blocks the procession and stabs Ok-rang, who has emerged from her bridal palanquin. Ok-rang crawls to where Su-dong has been laid, and draws her last breath by his grave. 　　Notes 　　"A film that allows us to see the archetype of Kim Ki-young's cinematic vision" 　　Yangsan Province (Yangsando, 1955) is director Kim Ki-young's second feature film. The printed reviews from the time indicate that Yangsan Provincedid not receive much critical acclaim when it was first released. For example, Yoo Do-yeon slams the movie as a "work of bad taste," a failed attempt at tragedy on the part of the director. Along similar lines, Heo Baek-nyeon criticizes it as an insincere film that "debases the dignity of Korean cinema." 　　Certainly, the plot of Yangsan Province, which follows the love triangle composed by two lovers from the lower classes and an upper-class interloper who threatens their relationship, hasappeared repeatedly as a hackneyed subject in Korean mass culture, dating back to such centuries-old tales as The Story of Chunhyang (Chunhyangjeon) as well as to Japanese-derived new-school drama like Day Dream (Janghanmong). Furthermore, the lack of vivid emotional throughlines in the actors'performances, lines and scenes that are symbolic yet disjointed from the context, and the exaggerated action and facial expressions of the love scenes might well have provided additional impediments to the audience's ability to naturally immerse themselves in the film. In particular, the denouement (missing from the Korean Film Archive's remaining footage), in which Su-dong descends from the sky in a ray of light and takes Ok-rang up with him, could even have come across as insulting to intelligent members of the audience at the time, steeped as they were in conventional realism. 　　Ironically, however, what was denounced as the film's weakness by Kim Ki-young's contemporaries appears to us today as the defining characteristic of the director's cinematic vision. That is, the unnaturalness and excess that seem to satirize forced emotional responses or even to convert tragedy into farce first showed its germ in Yangsan Province, and later developed in earnest from The Housemaid (Hanyeo) onward. Above all, we must pay attention to the fact that Kim Ki-young purposely derived the film's subject from an old Korean tale, and that the scene he professed the most attachment to was the film's grandiose ending. In short, Kim Ki-young created Yangsan Provincenot from the perspective of realism but of fantasy. This intention, unfortunately, does not appear to have come through in the film as well as it could have, and it would be something of a stretch to number Yangsan Province among the "classics" of Korean cinema. Nevertheless, the movie provides a vital clue to understanding Kim Ki-young's early works. If we remember the fact that it is the only one of the director's eight films prior to The Housemaid(1960) to survive to this day, Yangsan Province takes on even more historical significance. 　　Afterword: 　　- The movie tells the heartbreaking story recounted in the song, "Yang san Province (Yangsando)." 　　- Yang san Provincewas released on DVD as the first title in the Korean Film Archive Collection's classics collection.

电影《村路弯弯》以“四好农村路”（建好、护好、管好、运营好）为题材，讲述了鄂西武陵山集中连片特困地区某个自然山村，因受大山困扰，不能脱贫，交通部门驻村干部和当地百姓一起，克服重重困难，开山凿路，让该山村实现了路通、车通，并建设了农村公路生命安全防护工程，靠路发展农村物流、特色产业、旅游开发、农家乐等，最后走上脱贫致富奔小康之路。影片采用艺术的手段聚焦扶贫中的重大主题，用诗化的电影语言展现农村公路为山区百姓带来的新气象，是一部有深度有观赏性的优秀电影。