商店街で理容室を営む晴海は、半年前に夫を亡くし、今やその欲求不満は爆発寸前になっていた。気分転換と生活のために理容室を再開したものの、通ってくるのは彼女の肉体を狙う八百屋の樋口やお好み焼き屋の高田くらいだった。だが、彼らの誘いもむなしく、晴海は自らの快楽を追求するあまり夫を腹上死させてしまった後悔から肉体の疼きを抑えていた。そんなある日、駆け落ちして家を出た妹・麗奈が家に転がり込んできた…。

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.

先祖代々、血族結婚を繰り返してきた女系家族に生まれた和服デザイナー･雅子。母親の反対を押し切り、恋人･康雄と結婚した彼女だったが、夫に先立たれてしまう。

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。

地方の温泉旅館‘阿久の湯’の若女将・雅子は、夫が他界して以来、女手一つで旅館を切り盛りしている。そんなある日、夫と瓜二つの客・月間がやって来て…。

在松本主演的七月酷剧中，以“金鱼妻子”闻名的黑泽明的漫画《复仇的寡妇》形象化。为了查明心爱的丈夫被迫自杀的真相，描绘了一个变人潜入公司并开始复仇的女人。

清楚な和風美女・星野あかりが男たちに翻弄される未亡人を熱演したエロスドラマ。未亡人となった恭子は夫が残したアパートの管理人となる。しかし、彼女は一癖も二癖もある住人たちから性の標的にされてしまい…