未亡人下宿のママ、かつは、夫の遺影を裏返すと仏壇の扉を閉め、社会に巣立ってゆく下宿生を抱いてあげた。これが未亡人下宿のお決まりの出発のセレモニーだ。下宿には国士館大学の万年留学生の尾崎を筆頭に、早稲田の鈴木、慶応ボーイの山本などがおり、新しく東大のヒロシが仲間になった。下宿生たちは恒例のスキヤキ・パーティーでヒロシを歓迎した。暫くして尾崎の後輩の佐藤も下宿の仲間となった。佐藤はオナニー狂いの尾崎と違って、家庭教師のアルバイトに精を出す勤勉学生だ。ある日、尾崎たちは下宿の風呂を壊してしまい、ママはしかたなく銭湯に行くことにするが、男湯は、かつの裸を覗こうとする男たちで満員となってしまう。下宿に佐藤の父親が訪ねて来た。かつは佐藤の父が亡き夫にそっくりなのに驚かされる。家出した息子がアルバイトに精出す真面目学生と聞かされ、佐藤の父は大喜び。しかし、尾崎たちがセックス産業で賑わう街を歩いていると、佐藤が電話ボックスにホテトルのビラを貼っているのを目撃する。家庭教師はウソで、尾崎に金を渡すと、父親には黙っていてくれと話す。そして、佐藤はヒロシが思いを寄せるタバコ屋のミドリちゃんとも肉体関係があり、怒った尾崎たちは、佐藤の秘密を父に話してしまい、さらに大学の先輩で大男のオカマに佐藤を犯させてしまう。数日後、佐藤は失踪してしまい、かつは田舎にいる彼の父を訪ねた。そこでテレビを見ていると、深夜番組で、佐藤が登場、オカマになったけど元気でやってるから心配するなと画面に向つて叫んだ。ある日、ヤクザが下宿にやって来た。鈴木がストリッパーでマッサージ嬢のマリアンヌに毛じらみをうつしてしまったという。マリアンヌに替って、ママがストリップの舞台に立つことになった。その夜、尾崎の思いに、ママは彼を寝室に呼んだ。次の日、未亡人下宿は何事もなかったように、いつもの朝を迎えていた。

下宿屋の娘が学生たちの性の標的となるエロスドラマ。道楽で下宿屋を営む未亡人の娘・茶美は、美人で色気もたっぷり。ひとつ屋根の下に住む大学生の精視と尾蒲たちは彼女にすっかり夢中になるが…

An eros drama that depicts the lust of women, directed and written by Rumi Tama. Maruko, a mature woman with sex appeal, retired as an actress and worked for a fashion magazine. Maruko, who adopted her Yuri, who volunteered for her model, was training her to a lesbian for fear of losing her body shape due to SEX with her man.

An eros drama that depicts the lust of women, directed and written by Rumi Tama. Maruko, a mature woman with sex appeal, retired as an actress and worked for a fashion magazine. Maruko, who adopted her Yuri, who volunteered for her model, was training her to a lesbian for fear of losing her body shape due to SEX with her man.

Synopsis 　　Having lost her husband in the Korean War and living as a refugee with her daughter Ju (Lee Seong-ju), Shin (Lee Min-ja) gets by with the help of her late husband's friend Lee Seong-jin (Shin Dong-hun). However, Lee's sense of duty toward his friend's widow soon turns into love. Sensing his feelings for Shin, Lee's wife (Park Yeong-suk) upbraids her husband in deep jealousy and hysteria, and even resorts to finding solace in the arms of a young man named Taek (Lee Taek-kyun), whom she meets by chance. The fiery affair between Taek and Lee's wife takes a different turn when Taek saves Shin's daughter Ju from drowning at the beach. Although Shin finds herself receiving romantic overtures from Lee, she falls in love instead with the savior of her daughter's life and entrusts her daughter to another family in order to move in with Taek. Unfortunately, Taek's former girlfriend Jin (Na Ae-sim), thought to have died in the war, returns and he decides to leave Shin, to her utter dismay. Already settled with Jin, Taek bids Shin farewell, but Shin, who had sought to find truth in her love life with Taek, is shocked into pointing a knife at her lover. 　　Notes 　　"The first and final film by Korea's original female director, Park Nam-ok, which faithfully portrays from a female perspective the desires of women after the Korean War." 　　The Widow, by Korea's first female director, realistically portrays from a woman's perspective the actual hardships and circumstances faced by post-war widows. When her husband's death results in the loss of her livelihood, the female protagonist accepts financial assistance from her husband's friend even as she resists his romantic advances. When she falls in love with a younger man, she is true to her own desires to the extent of leaving her daughter with another family and setting up a business and a home with the money she has received from her husband's friend. Interestingly, The Widowdoes not mythologize its depiction of motherhood, opting instead to starkly represent the honest desires of women after the war. Although Shin demonstrates inner conflict between romantic and maternal love, she ultimately chooses the former. The film could be said to present its female protagonist as someone, who is shockingly true to herself, but, at the same time, it refrains from vilifying her, or depicts her in an unsympathetic light. 　　Unlike many male directors who looked with a hypocritical, duplicitous gaze of fascination and chastisement on post-war "apres girls," Park Nam-ok's empathetic portrayal maintains a clear female perspective by showing just how difficult it was for women to survive among men while realizing their own desires. 　　Afterword: 　　- The surviving film stock lacks the final scene, making it difficult to ascertain the film's ending. 　　- The Widow came under the spotlight when it was screened at the 1st Women's Film Festival in Seoul, in 1997.

Synopsis 　　Having lost her husband in the Korean War and living as a refugee with her daughter Ju (Lee Seong-ju), Shin (Lee Min-ja) gets by with the help of her late husband's friend Lee Seong-jin (Shin Dong-hun). However, Lee's sense of duty toward his friend's widow soon turns into love. Sensing his feelings for Shin, Lee's wife (Park Yeong-suk) upbraids her husband in deep jealousy and hysteria, and even resorts to finding solace in the arms of a young man named Taek (Lee Taek-kyun), whom she meets by chance. The fiery affair between Taek and Lee's wife takes a different turn when Taek saves Shin's daughter Ju from drowning at the beach. Although Shin finds herself receiving romantic overtures from Lee, she falls in love instead with the savior of her daughter's life and entrusts her daughter to another family in order to move in with Taek. Unfortunately, Taek's former girlfriend Jin (Na Ae-sim), thought to have died in the war, returns and he decides to leave Shin, to her utter dismay. Already settled with Jin, Taek bids Shin farewell, but Shin, who had sought to find truth in her love life with Taek, is shocked into pointing a knife at her lover. 　　Notes 　　"The first and final film by Korea's original female director, Park Nam-ok, which faithfully portrays from a female perspective the desires of women after the Korean War." 　　The Widow, by Korea's first female director, realistically portrays from a woman's perspective the actual hardships and circumstances faced by post-war widows. When her husband's death results in the loss of her livelihood, the female protagonist accepts financial assistance from her husband's friend even as she resists his romantic advances. When she falls in love with a younger man, she is true to her own desires to the extent of leaving her daughter with another family and setting up a business and a home with the money she has received from her husband's friend. Interestingly, The Widowdoes not mythologize its depiction of motherhood, opting instead to starkly represent the honest desires of women after the war. Although Shin demonstrates inner conflict between romantic and maternal love, she ultimately chooses the former. The film could be said to present its female protagonist as someone, who is shockingly true to herself, but, at the same time, it refrains from vilifying her, or depicts her in an unsympathetic light. 　　Unlike many male directors who looked with a hypocritical, duplicitous gaze of fascination and chastisement on post-war "apres girls," Park Nam-ok's empathetic portrayal maintains a clear female perspective by showing just how difficult it was for women to survive among men while realizing their own desires. 　　Afterword: 　　- The surviving film stock lacks the final scene, making it difficult to ascertain the film's ending. 　　- The Widow came under the spotlight when it was screened at the 1st Women's Film Festival in Seoul, in 1997.

24岁生日当天，芭芭拉得知丈夫战死越南，20年后，她决定拍一部关于越战的电影。在一位南越遗孀的陪同下，她走遍丈夫当年打仗的地方，藉由影像和新闻片段的交错寻问战争的本质，美、越两地的战后寡妇交相谈论战争带来的阴影，并不是要批判战争，而是让一段段错失的得以重新复活。

24岁生日当天，芭芭拉得知丈夫战死越南，20年后，她决定拍一部关于越战的电影。在一位南越遗孀的陪同下，她走遍丈夫当年打仗的地方，藉由影像和新闻片段的交错寻问战争的本质，美、越两地的战后寡妇交相谈论战争带来的阴影，并不是要批判战争，而是让一段段错失的得以重新复活。