The main character, Ji-heon (female, 17), runs down the hallway every morning because she doesn't want to share the elevator with Hyun-min (male, 18), who lives upstairs in the same apartment. 　　The one who doesn't want to face Hyun-min is Hyun-min's father, the mother's lover. They seem to be trying to take their mother away from Ji-heon. 　　Then, Ji-heon witnesses his mother's attendance as Hyun-min's mother during the parent interview at the school.

M Theory for Dummies

南北交战之际，大夜国朝政由出身千密族的太后端密一手把持。千密一族数百年来隐居在世外桃源般的千密圣地，其血可入药、圣女之血更是珍贵，因此千密族人成为乱世诸侯猎夺的目标。端密身边的千密使秦桑十五年来每月探望镇南王的养女纪小离，为她服食药丸隐藏身份，因为纪小离不仅是端密苦寻的千密圣女，更是秦桑的亲妹妹。秦桑设计令小离投拜到国师陈遇白门下，得国师护佑。一心以保护王朝为己任的陈遇白性情孤高，却在与纪小离的相处中被其天真善良融化，渐生情愫。 　　陈遇白与纪小离经过百般误会终于互相捅破情意，却在此时，端密发现了小离的身份，要用圣女之血实现她独霸天下的野心。秦桑舍命保护妹妹，端密梦碎。小离又在陈遇白的助力下，以圣女之令阻止了一场两国间的战争，守护了百姓安危，二人也终于修得正果，白首偕老，既遇不离。

南北交战之际，大夜国朝政由出身千密族的太后端密一手把持。千密一族数百年来隐居在世外桃源般的千密圣地，其血可入药、圣女之血更是珍贵，因此千密族人成为乱世诸侯猎夺的目标。端密身边的千密使秦桑十五年来每月探望镇南王的养女纪小离，为她服食药丸隐藏身份，因为纪小离不仅是端密苦寻的千密圣女，更是秦桑的亲妹妹。秦桑设计令小离投拜到国师陈遇白门下，得国师护佑。一心以保护王朝为己任的陈遇白性情孤高，却在与纪小离的相处中被其天真善良融化，渐生情愫。 　　陈遇白与纪小离经过百般误会终于互相捅破情意，却在此时，端密发现了小离的身份，要用圣女之血实现她独霸天下的野心。秦桑舍命保护妹妹，端密梦碎。小离又在陈遇白的助力下，以圣女之令阻止了一场两国间的战争，守护了百姓安危，二人也终于修得正果，白首偕老，既遇不离。

新垣结衣在上海拍摄的心情短剧。新垣结衣一人分饰两角，讲说她独自到上海旅行，偶遇与自己长相一模一样的女生

The fear of being overwhelmed by the outside world can almost litterally make you lose your head...

A diary film about a relationship between a man (Alain Cavalier) and a woman, told entirely through voice-overs by the two participants, spoken over largely static images (of household objects, animals, parts of the body, rooms, landscapes etc.). At times an emotional direction emerges (an articulation of love, loss, frustration), then it retreats. At times the film seems to be about its own making; at others it seems merely to drift. 　　Imdb Review: Alain Cavalier's latest film is deceptively simple and yet revolutionary because it seems to stand outside the boundaries of narrative and documentary filmmaking. One could describe "La Rencontre" as a cinematic diary--a home movie that documents the filmmaker and his muse during the course of their relationship. But unlike most movies the human subjects here are never photographed in whole, just partially. This brave new work is as much about Cavalier's object of desire, that is, his lover as it is about the medium that gives expression to his love. It is conceived as one part confessional and one part discourse on the metaphysics of love and cinema. The cinema, for Cavalier, is like a two-way mirror that records images while reflecting those images back onto itself. Subject and object appear to mirror each other's identity until they assume new personae in the process. 　　The immediate challenge for Cavalier, then, is cinema's objective gaze: the ability of the camera to record the physical nature of reality. But Cavalier's chief interest is just the opposite. He wants to demonstrate the possibility of a new cinema: one that evolves out of concealment and subterfuge. This cinema deemphasizes the human landscape and dislocates the image from its voice. It focuses inward rather than outward, and chooses to explore the intangible and the abstract over the tactile and the concrete. 　　Appropriately, Cavalier's cine-diary unfolds like an open book: his twin loves (muse and cinema) are illuminated through a series of tableaux filled with close-up objects which are brought vividly to life by the imagination and the transfigurative power of the cinema. It is as if these everyday objects have become the lovers' collective memories saturated with the emotions and energy of life. In short these objects have assumed a life of their own becoming humanized and perhaps immortalized in the process. After all isn't this precisely the paradox of cinema--the ability to resurrect inanimate objects, to bring them back to life at 24 frames per second?