四年一度的亚洲体育盛会“亚运会”将于9月23日至10月8日在杭州盛大举行。HOY TV作为香港唯一独家转播电视频道，不仅会为香港观众呈现最新、最精彩的体育赛事。那么，本届“杭州亚运”周边有哪些新设施、新玩法来配合并吸引市民观赏这一国际体育盛事呢？两位“活力女神”在亚运举办前夕率先探寻杭州这座主办城市周边有什么好玩的、好吃的、值得体验的，还会介绍一系列“杭州亚运”周边的最新配套，为观众带来一手的杭州旅游资讯。

四年一度的亞洲體壇盛事「亞運會」將會於 9 月 23 日至 10 月 8 日假杭州隆重舉行， HOY TV 作為香港唯一獨家轉播電視頻道，除了會為香港觀眾提供最新最精彩體育賽事之外，究竟今屆「杭州亞運」周邊有甚麼新設施、新玩意去配合以及吸引市民去觀賞這次國際體壇盛事呢？兩位「活力女神」於亞運舉行前夕率先探索杭州這個主辦城市附近有甚麼好玩、好食、好體驗，還會介紹一系列最新「杭州亞運」附近配套，為觀眾帶來第一手杭州旅遊資訊。

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.

深夜裡，下班的阿寇走在無人的市場裡。突然閃爍的霓虹燈，引起阿寇的注意：一台擺滿扭蛋的老舊娃娃機。機台斗大標題寫著「解開七色扭蛋之謎，神秘大獎即刻降臨。」但當他收集完所有扭蛋之後，迎來的卻是一個意想不到的死亡殺機。由金鐘視帝姚淳耀擔綱演出。

深夜裡，下班的阿寇走在無人的市場裡。突然閃爍的霓虹燈，引起阿寇的注意：一台擺滿扭蛋的老舊娃娃機。機台斗大標題寫著「解開七色扭蛋之謎，神秘大獎即刻降臨。」但當他收集完所有扭蛋之後，迎來的卻是一個意想不到的死亡殺機。由金鐘視帝姚淳耀擔綱演出。

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。